1. The Matrix (1999)

   
   
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   In1999, when Matrix got into the Movie Theaters, it became a huge phenomenon, and created a new Movie Making Voice that reaches us to the present days. I never had access to The Matrix's script, but I guess it was an writing piece. So many genius ideas in just one movie. And now you ask: how The Matrix is going to help you writing a novel?
   
   The Matrix taught a very important lesson to all the fiction creators in the world, including writers. Audacity. In writing Sci-Fi and Supernatural, audacious ideas are one of the most important elements that keep the reader turning the pages of a novel. A Sci-Fi and Supernatural writer must take his craziest ideas and turn them into acceptable ones during the writing. The whole concept of reality inside reality was so weird back then (although there was something similar in the Argentine movie Vanilla Sky) that some people took a long time to understand, and yet, Matrix became a very loved movie. The execution of the story was so good that the weirdness feeling went away. When writing a novel, take your most audacious and weird ideas and write them in the way that they doesn't feel weird anymore to the reader.

2. Terminator (1984)

   
   
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   Although the poster is from the first Governator (oops, I mean Terminator), I actually refer to it and all the sequels. In Terminator a very interesting fiction phenomenon happens: the complete disregard to logic limits. Yes… that's it. In Terminator, the explanations for Time Travel and the complete lack of concern with Time Paradox or any sense at all, make Terminator a great movie. For the writer, the lesson is: when writing a novel, don't get too worried about logic.
   
   Sci-Fi and Supernatural audience are very tolerant with the lack of logic, and every now and then, this same audience actually enjoys it, as in Terminator. Michael Critchon frequently adds a whole bunch of scientific explanation that although interesting, are frequently over-explained to the point of boredom. So, when writing Sci-Fi and Supernatural novel, don't worry too much about logic; the reader won't.

3. Interview With The Vampire (1994)

   
   
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   I know that in my last article I made some jokes about the novel “Interview with the Vampire”, but I never said it was bad. In fact, it was a great piece of writing and became the great movie responsible for the destruction of any possible friendship between Brad Pitt and Tom Cruise.
   
   This movie teaches a very important lesson to the writer. When writing a novel, you can touch controversial social topics as long as you do it in a tasteful way. You know what I'm talking about, don't you? If you don't, think again. Do your remember the incredible homosexual vibe in the Movie? Well... homosexuality is a controversial topic to the general audience. Homophobes are also movie watchers, and yet, I hadn't heard a single complain from homophobes about “Interview with the Vampire”.
   
   So, when writing your novel, don't be afraid to approach controversial topics as homosexuality, as long as they seem tasteful in your writing. Elegance is the trick to write a novel and put inside it anything you want.

4. Constantine (2005)

   
   
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   With that Movie, Hollywood once again entered the realm of Taboo. Religion and Anti-Religion were present in the whole movie. Well... remember when I said in the last topic about treating controversial topics with subtlety and delicacy? Well... when writing taboo you must blow it. Yes; the rule is the opposite, and if you want to bring taboo to your novel, you must write to shock and overwhelm the reader with taboo. Remember “Da Vinci Code”. I hated the novel and the movie, but the Taboo was so powerful that I was compelled to see the movie until the end, and for Supernatural and Sci-Fi writers, taboo is a friend. There are thousands of taboos, mostly religious, that can originate amazing novels.

5. Highlander (1986)

   
   
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   In this article my reference to Highlander regards only the first movie. In fact, while you read this article, let's make a pact and pretend that those unbelievably disgusting sequels didn't exist, allright?
   
   Highlander teaches the writer about an important aspect of writing "mystery". When writing a Sci-Fi and Supernatural novel, you don't need to explain much. In fact, the less you explain in your writing and the more you let the reader to speculate, the more intriguing an addictive will be your novel. In Highlander we didn't understand where did Connor Mcleod came from, how did he get immortal, and what was the purpose of becoming mortal. This mystery made a great movie, and it would be perfect if the producers didn't commit the awful crime of giving hideous explanations in the sequels (sorry; I know we made a pact, but I couldn't resist making nasty comments about these movies).
   
   So; when writing a novel, don't over-explain. The less, the better. Readers are also creative people.

6. The Lord Of The Rings (2001)

   
   
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   When writing your Sci-Fi or Supernatural Novel, you must pay attention to background and scenario; those are very important elements in these genres. In the book “The Lord of the Rings”, the background was flawless, and the movie really captured it. If you compare the book and the movie, you will get to the most important thing: details. Not all details are important and you shouldn't bore you reader writing a long description of the main-character's ear lobe. When writing your novel, you must identify the important details, the ones that really contribute in building the scenario and background. The other details you must give them to the reader. Let the reader imagine your reality as he pleases; it will certainly improve the reading experience.

7. Hancock (2008)

   
   
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   Originally this movie wasn't in the list, but I just saw this movie and loved it. The story is kind of crappy but the Hancock character is fantastic. If you need inspiration to create a character, Hancock may be a way to begin. Of course, you can also use my article Building Characters for your Novel (and that is just shameless self-advertisement). Well… really… great movie. I don't have a really good excuse to put it in this “writing your novel” list yet, but I will think in something later. Anyway… watch it.

I hope those movies help you in writing your novel. In any case, if they don't, you will have watched seven great movies.

If you haven't ventured beyond actuality before, perhaps it's time you take the plunge. Neil Burger's new film The Illusionist invites viewers to suspend reality and embrace magic. But beware, as the protagonist forewarns: “Everything you see here is an illusion.”

The film's opening sequence establishes a dreamy, ethereal atmosphere; butterflies and shadows flitter across the screen, accompanied by dark, ominous music - the songs of spirits, sorcery and suspense. I'm immediately seduced, although it must be divulged that I've been involved in a steamy affair with the supernatural for years. I pore over the horoscope section, reflect upon the counsel of a clairvoyant as if she were a holy priestess, and the sight of a black cat sends me running in the opposite direction.

Nevertheless, this film's aesthetic beauty even bewitches the skeptic. Set in early 20th century Vienna, The Illusionist exhibits an exquisitely precise attention to detail, evoking a charming old-world atmosphere. The monarchy has not yet fallen from power and Vienna exists under the fearful reign of Crown Prince Leopold, heir to the throne of the Austro-Hungarian Empire. The medieval walls which enclosed Vienna from 1200 until 1860 continue to haunt the city as the characters appear imprisoned by strict social decorum, and the monarchy's overt authority.

This enforced moral order and resolute allegiance to the Empire is broken, however, by the entrance of Eisenheim, The Illusionist. Eisenheim, portrayed by Edward Norton, is a gifted magician and performs inexplicable acts of wonder before his Viennese audiences. Edward Norton masters the role, and even sports a goatee for the film, exuding a dark edginess that epitomizes early 20th century sorcerer. Eisenheim's magic is visually spectacular. He commands the seed of an orange tree to rapidly sprout to fruition; then proceeds to summon a cloud of butterflies to deliver him his handkerchief. His audience is mesmerized.

Essentially, The Illusionist encapsulates man's paradoxical relationship with supernatural forces. Vienna is entranced by the glamor of Eisenheim's exhibitions, and anarchy unfolds as their avid desire for magic intensifies. The Prince Leopold is enraged by Eisenheim's escalating status and, accompanied by the Chief-of-Police, embarks on a quest to destroy him.

Is this not society's typical reaction to magic? Throughout history, man has shared a strange relationship with the paranormal; it has been regarded with awe, terror and infatuation. Magic may traced back to the royal courts of Ancient Egypt 5000 years ago when Dedi, a magician, cut off the heads of a goose, a pelican and an ox - and then miraculously restored them to the astonishment of the pharaoh King Cheops.

During the Middle Ages, everyone believed in magic. Its mysterious, inexplicable nature created such intense hysteria that thousands were hung, or burned alive, under accusations they had been practicing witchcraft.

Magic casts a powerful influence on the characters in The Illusionist. Leopold's obsessive ambition to destroy the local magician is intensified when he discovers Eisenheim has seduced his beautiful fiancée, the Duchess Sophie, portrayed by Jessica Biel. Biel's performance is surprisingly elegant. Unfortunately, the chemistry between her and Norton isn't exactly sizzling. Their sex scene is more poetic than steamy; a montage of sliding images of glistening, golden flesh.

Sophie and Eisenheim's love affair ends abruptly, however, when Sophie is murdered following a violent argument with the drunken Prince. Eisenheim temporarily retreats in sorrow, before reemerging with new, spectacular exhibitions. The border between reality and illusion ceases as Vienna hails Eisenheim as a gifted sorcerer, possessed with powerful secrets from other worlds. His new acts are violent and confrontational, mirroring Viennese society's lust for freedom from their vigilant monarchy. Their fascination with the afterlife is fueled by Eisenheim's conjuring spirits from the dead. These apparitions mesmerize - rather than terrify - the audience, who seem anxious for the reassurance that justice will be delivered in death, alluding to the nature of the Empire, which did not revere justice, nor equality.

The city's restlessness under Leopold's reign escalates to climax when Eisenheim dares to resurrect Sophie. She reveals her murderer walks free, provoking rumor that the Prince's hands are stained with her blood.

Leopold retaliates by ordering Eisenheim be arrested and imprisoned. The illusionist is not easily caught, however, and vanishes in a cloud of smoke.

I won't spoil the ending, but be prepared because nothing is as it seems. The film is stylishly crafted, and its illusions are difficult to capture in the act. You may think you know where you're destined, but chances are you've already been misled. It's easy to become lost in the supernatural's strange, hazy depths.

According to Gerald Dipego, the movie's screenwriter, this story was a result of a dream he had which involved a family picture of a mother, a father and a young son where “…the son's image began to fade,” then the other figures slowly disappeared too.

The film is actually about a mother who never forgets she had a son. Her husband, psychiatrist, neighbors, and even friends believe she is sick or delusional because their memory was somehow tampered with to erase all memory of Telly Parretta(Julianne Moore) ever having a son. But the bond between a mother and child is strong, such is the message this film somehow projects to the audience; that Telly can never forget she has a child.

As expected, this film was one of the best thriller films I've seen during my college days. However disturbing it is to me when thinking of the possibility of such things. You might say my overactive /imaginative mind is taking over me but this movie made me think. How dare they make a supernatural film by using UFO elements in the movie? It somehow scared me that this film may have a sense of truth. If it hadn't been for the movie's website my mind wouldn't get relieved to find out this was just a figment of someone's dream.

I just couldn't believe someone could come up with this kind of story. Let's just say, the special effects and the actors made this a very convincing movie, and that each music aptly fits the scenes, and that if it were treated differently, it may not be a movie worth watching. Even the overall feel and setting of the movie contributed to the emotions they wanted the viewers to grasp.

The movie employs juggling shots (shaking or unsteady-like scenes), which are quite unnoticeable when you're steady and just sitting down. It might not be important to other people but it does contribute to the feeling of being lost or having an "unstable" state of mind.

Ah heck, you don't want me getting into technicalities and such so yes, this movie is great. This movie is really worth watching. The ending is not that disappointing unlike one movie I saw which had a tragic and unhopeful ending. Truly, a movie that ends badly and somehow has no happy ending sucks. Obviously this is not one of those done in bad taste. It's not a big budgeted film but still it turned out great.

As with all films, it does have some flaws. Take the case of using wallpaper for covering up evidence of having had a child. I mean they're aliens right? But perhaps they wanted to establish doubt in the involvement of aliens in that situation - maybe. Another thing I found preposterous was Telly running after her son. I mean, somewhere in the movie it was said that "humans are treated much like laboratory rats," but they shouldn't need to show her running and running and running AND running after her son like some brainless rat in some kind of experiment. Humans are not stupid like animals. That's what makes us different from other living things, we can think. Yes you can justify this situation as the mother being anxious blah blah blah but I still think this part wasn't given much thought on.

Anyway, there are people who may not see this as a great film because the story lacks depth. But it does have depth, it is not a normal film, it is a supernatural film where the normal things in life are missing. There are many impossibilities that arise as the movie progresses. It may seem illogical to some but that is the aim of the movie, that there are more things we don't know that exists out there. I may sound X-Files-ish but that is what it somehow projects to most people.

If you want a movie that makes you think, this is it.

The movie itself opens up after the death of Emily Rose, on a farmstead much like any small farm in countrysides across the continent. However, this is not the setting, or even a major point of the film; our view is set on the courtroom, where Father Richard Moore is set to be tried for the neglectful homicide of Emily Rose.

Erin Bruner, an up and coming junior partner, having just released a man charged with serial murders from prison, is brought to represent the priest against a prosecutor whose own faith and convictions lead him to believe that Emily was murdered. His case involves medical testimony and the belief that Emily simply suffered from epilepsy, which is later revealed to have brought about psychosis.

As the movie progresses, strange and unexplainable events occur to Erin herself; she wakes up in the middle of the night, alarm clock stopped at 3:00 A.M.

Perhaps the strangest of these is during the trial itself, after a particularly fierce failure by the defense to puncture the prosecution's case, Erin finds a gold locket laid in the snow. It had seemingly been there for hours, and was almost buried under the snow. It bore the initials E.C.B.; her middle name is Christine.

At this point, she attempts to validate the possession of Emily, whether by demons or some other disembodied spirit, through the priest's own testimony, as well as that of a psychiatrist. Most notable is her use of an anthropologist, Sadir Adani, who believes that possession is simply a basic human experience, proven scientifically by the millions who experience it every year world-wide. Unfortunately, after the accidental death of the psychiatrist, Erin's case falters, and ultimately fails; Father Moore is convicted, but is given a sentence of time served.

The leading roles in this film are filled by Laura Linney, Tom Wilkinson, Campbell Scott, and Jennifer Carpenter; Erin Bruner, Father Moore, Ethan Thomas, and Emily Rose successively. Each character plays a pivotal role throughout the film, and their own journey, particularly that of Erin Bruner, are crucial to the development of the plot.

The actors portray their given characters in masterful form, developing the belief, or disbelief in the supernatural. The musical score, while not overtly impressive, gives an eerie, almost realistic viewpoint from which the audience can step into the film, and follow the trial as if they were sitting in the courtroom themselves, hearing the events told through musical interpretation.

While synthesized, the opening sequence, inter laden with the screams and frightful noises from the exorcism itself, gives off the mood necessary for the trial scenes to continue unabashed. Scenes involving the prepossessed Emily are scored with what can be described as angelic choirs, while those involving demonic possession or simply apparitions of malicious forces are suspenseful, if not altogether strange.

However, this is not meant to confuse, or excite the audience in an overt way. The main focus of the story, while masked by trial procedure and flashback sequences, is the journey of discovery made by Erin Bruner. The reality we are given is hers; how she perceives the trial, and the events that unfolded beforehand, as well as those that unfold up until the verdict is given.

Her ideals, as placed by Father Moore, make her an agnostic, with the quote “If you aren't sure, then you are one.” She's faced with a hard-nosed protestant prosecutor, who worries more about making sure lawbreakers are behind bars, than about the forgiveness and compassion taught by his own religion.

This is beyond the expert witnesses he puts forth which seem more interested in their own agenda and medicating patients for the sake of medicating patients than finding out what's truly wrong with them. While it's for certain that Ethan, the prosecutor, isn't going to change his mind about belief, nor will Father Moore lose his convictions of faith, it quickly becomes clear that Erin is the target of spiritual change. Her beliefs can go either way, due to the unhappiness and loneliness she's come across in her ambitious drive to the top of the food chain.

To top it off, the viewers themselves are given a taste of her inner struggle as the various opinions over the true dilemma of Emily is shown visually to us, displaying both the scenarios as if she were possessed, or simply ill.

Erin grows to believe, throughout the course of the movie, that something truly is amiss. She has trouble sleeping at night, because of the strange occurrences she experiences. She becomes an at-risk character before the trial even begins, with entities seemingly invading her home, playing with her emotions by waking her up at exactly 3:00 A.M., opening a locked front door, and even playing the tape recorder on which Emily's exorcism is recorded.

It seems as though there's no hope at all for the trial, and then she tells Father Moore of the locket she came across. She asks him “What are the chances that I, of all people, would find this locket?” and that it made her feel as though she was on the right path, right where she needed to be at this moment.

It's at this point the change is visible; whereas before, she was simply not sure, Erin now believes that she's doing the right thing. Whether or not the Archdiocese wanted Father Moore to testify, Erin knew that she had to help him no matter what the price.

Before this night, however, she'd run into Dr. Cartwright, who had offered to testify as an eyewitness to the exorcism. He seemed spooked, frightened, and altogether wary about even being involved anymore, and yet came forth to tell us, the audience, as well as Erin, that Emily's condition scared him. He was holding onto the tape recorder, and was also under attack by the forces surrounding the trial.

As for the events throughout the film that only we, the audience see, and the jury only hear, or hear about, there are many. The first time Emily comes into contact with the demons who have supposedly possessed her, the experience can very easily be mislabeled as an “Old Hag” experience. She wakes up, with the smell of something burning. She checks outside, afraid something might be on fire, but instead sees a door slamming open and shut with the storm. However, when she reenters her room, she feels an invisible presence slam the door behind her, and she quickly climbs back into bed.

Then, the pencil holder on her desk rattles, and slowly moves itself off, flying onto the floor. At this point, she feels the invisible presence again, on top of her, pressing down on her chest, holding her arms. The imagery is almost that of being raped, as he the presence attempts repeatedly to pull her nightgown up, in an attempt to invade her.

With a scream, the presence is gone, and she runs wildly, to a pay phone outside. As a continuation of this experience, we find Emily in the hospital, tranquilized slightly, and already on the drug Gambutrol. At this point, another attack incurs, throwing Emily to the floor, and ultimately invading her body.

The reverse of this, however, is given as two doctors testify on the stand. When one of their theories about simple epilepsy, with visual cues for our minds, fails with the efforts of Erin, a second doctor is brought in to give an explanation for a disease known as psychotic epileptic disorder. This does, in fact, seem as though it's an appropriate possible explanation for what happened with Emily.

At this point, to those who know the true story of Anneliese Michel, it becomes very obvious that the parallels between the two stories are written intricately into the movie. While Anneliese never suffered from psychotic epileptic disorder, it was implied throughout her trial that her family and the priests induced her psychosis, bringing her into the state of "possessed" on their own.

It was said that these psychotic tendencies were brought on with help by her epilepsy, which is originally the thought that even her family had in regards to her. It was hidden so that she could go to university, and there is no account in regards to the theory given to the courts as to how or why her symptoms progressively worsened while she was away from her family and priests.

This movie, while an attempt to entertain, is also an attempt to educate. For those who take such things with a grain of salt, perhaps it was simply an entertainment feature made by Hollywood.

However, the existentialism behind the film is that of possibilities. What if this could really happen? What if God really exists? Even if God doesn't exist, what if spirits and demonic forces do exist, and we deal with them on a daily basis? The true nature of the film is implied in Dr. Sadir Adani's theory given through the course of the film: that possession is, scientifically, a basic human experience that occurs worldwide, whether or not it is verifiable or malicious in its very nature.