Christopher Fase
Screenwriter, Critic, and filmmaker
My name is Christopher Fase, and I’m a screenwriter and film critic based in Los Angeles, California. I’m a believer that art and cinema are some of our most beautiful avenues of human connection, with their ability to bring people together and their capacity to communicate a filmmaker’s complex visions of the world. In my filmmaking, I hope to bring forth as much of my complicated worldview as I can, and in my criticism, I hope to uplift films that do the same and direct people’s eyes to the visions I think are worth uplifting.
In my writing, i love to explore visions of the future in science-fiction, looking at the state of technology and culture today and envisioning the future based on who we allow to guide us in the present. I’m frequently drawn to the power dynamics of leadership, and the psychology of people who believe that their vision of the world is not only right, but just enough to bring others into it no matter how much it hurts them. I find that right now, the influence that charismatic thought leaders have over our culture is something I deeply fear, and I find that by writing these kinds of characters, I’m better able to confront those fears and better navigate the modern world.
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.”
“Whether it be Avery’s catastrophic opening statement ending in a rocket skate flying through the room or the military’s attempts to bring the Roadrunner to the witness stand, every self-serious live-action human in the film is left to be little more than a laughing stock in the shadow of the Tunes. Nowhere is this more present than in John Cena’s performance as sellout lawyer Buddy Crane, whose attempts to maintain his professionalism give way to boiling rage as his plans start crumbling around him. He commits to every bit of frustration with his whole chest, every muscle in his face contorting to capture the rage he feels as he squeezes Tweety Bird in his bare hand, moments away from killing this cartoon canary.”
“Hal operates on different rules than the rest of the world around him. Where small-town police see an open-and-shut shooting case, he sees clear signs of shapeshifters that he can’t really explain. When John talks about “respecting the chain of command” at a crime scene, Hal looks at him with sheer bewilderment. When asked for a legitimate job title, he can barely come up with the official, bureaucratic version of “Green Lantern of Earth” because he’s shocked he’s even being asked. These hotshot oversights may have come off smoothly when he was in his heyday, but decades of never being held accountable by any system governed by his fellow earthlings have rendered him incapable of shedding them.”
Screenwriting and producing
Heist Guys
Written, Directed, and Produced by Christopher Fase
When his dream project is rejected, an aspiring filmmaker attempts an elaborate heist to fund his movie and get back at those who wronged him.
Extra Emerson (Season 2, Episode 3)
Produced by Christopher Fase
Are you excited for the expanded 'Poohniverse'? In this episode our hosts discuss the increase in the usage of public domain works in film across many genres. Is there a difference in how Blood and Honey and Anyone But You adapted the public domain works? Do we want to see more public domain adaptations? After that our hosts are joined by none other than Satan himself!