Christopher Fase
Screenwriter and Critic
My name is Christopher Fase, and I’m a screenwriter and film critic based in Los Angeles, California. My work is guided by my humanist philosophy, a philosophy that came to me from the artistic works of people before me (examples of which I’ve included here, as I feel they help to illustrate what drives me creatively). I believe that by creating and discussing films and art, we further our connection to each other and to the human spirit.
I am particularly drawn to science fiction stories, as I find that by engaging with what we think the future will hold, we learn valuable lessons about the present. I want to write films and television that help people connect with each other through excited and thought-provoking discussions, and through my criticism I want to engage with those very discussions with my own perspective and excitement. As long as we keep art alive and keep engaging in it, we are keeping humanity itself alive. It’s valuable work I want to continue, and I hope you’re ready to join me on it. My contact information is listed below if you’d like to reach out for writing samples.
Criticism
“We begin to understand the franchise villain Little Death (Jack Haven) in a sequence of grizzly murders, where we see their eyes and they go from a vengeful, demonic spirit to a human being, unabashedly enjoying their bloody handiwork. In the sequence’s explosive gore and overacted teenage characters, we’re invited to forget the real world, forget real violence, and play around with something we should be sickened by as our escape from reality.”
“The lack of effort in selling the film’s narrative reduces it from the grand return of Star Wars after a decade-long hiatus to an insular document, by fandom and for fandom, with no legacy in mind. It’s made worse by the simple placement of “Star Wars” at the front of the title, making me yearn for the simple nods to legend given by the previous spin-off subtitle “A Star Wars Story”. No, this is no longer a story. It’s simply a blob of IP, designed to die as much as it’s designed to live.”
“The most investment we have in the creature comes in the immediate aftermath of his creation, chained and unable to speak. Here, the film isolates their dynamic to the cruddy basement of Victor’s tower, allowing a distance from the film’s previous opulence and giving Oscar Isaac’s otherwise overly-theatrical performance a focus in his non-speaking scene partner. Elordi’s lack of speech here also isolates his monstrous physicality, a lumbering manner of walking that’s grounded in desperate, puppy-dog eyes, which successfully brings us to his side for these moments. This segment allows for some solid two-man drama, contrasting the performances of creator and creation more directly than ever.”