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Project Greenlight 2 [3 Pack / WS] - DVD

SKU: 6663559 | Release Date: 7/13/2004

Rating: PG-13

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Rating: PG-13
Format: DVD
Length: 454 minutes
Screen Formats: Enhanced Widescreen for 16x9 TV
Genre: Documentaries
Studio: Walt Disney Video
Aspect Ratio: 1.85:1/1.33:1

Synopsis

Includes:

The Battle of Shaker Heights (2003), MPAA Rating: PG-13

Project Greenlight: Episode 019 (2003)

Project Greenlight: Episode 020 (2003)

Project Greenlight: Episode 021 (2003)

Project Greenlight: Episode 018 (2003)

Project Greenlight: Episode 017 (2003)

Project Greenlight: Episode 016 (2003)

Project Greenlight: Episode 013 (2003)

Project Greenlight: Episode 015 (2003)

Project Greenlight: Episode 014 (2003)

Project Greenlight: Episode 025 (2003)

Project Greenlight: Episode 023 (2003)

Project Greenlight: Episode 024 (2003)

Project Greenlight: Episode 022 (2003)

The Battle of Shaker Heights
The Battle of Shaker Heights is directed by the team of Efram Potelle and Kyle Rankin. Kelly Ernswiler (Shia LaBeouf) is a quirky 17-year-old whose greatest passion is reenacting battles from World War II. After meeting Bart Bowland (Elden Henson), someone who is nothing like him but shares his passion, Kelly ends up putting his battlefield knowledge to work in real life. The script by Erica Beeney was the winner of the second Project Greenlight competition. ~ Perry Seibert, All Movie Guide

Project Greenlight: Episode 019
It's the first day of the shoot, time for directors Efram Potelle and Kyle Rankin to show what they can do. Screenwriter Erica Beeney is also on the set, though she's uncertain what her role is going to be. Chris Moore shows up on the set and questions a choice that the directors have made. He's worried that their sense of humor might be too broad for the film, but he lets them have their way. At one point, the directors are shown telling Kathleen Quinlan (who plays Eve, Kelly's [Shia LaBeouf] mom) that they are open to changing the dialogue to suit the actors' needs. The first day goes pretty smoothly overall, and Moore is pleased. The next day, Jeff Balis gets bad news. Christopher McDonald, who'd been cast as Abe, Kelly's father, has a scheduling conflict. The production either has to change the schedule to accommodate him, or replace him. Cinematographer Thomas Ackerman is friends with actor Christopher Lloyd, and agrees to ask him about taking the role. Miramax gives the okay, and the directors assent, but when Moore talks to Lloyd on the phone, he doesn't seem very enthusiastic. Moore has to leave the production to go to the set of American Wedding. Balis gets word that Lloyd turned them down, so he asks Miramax if they can go back to William Sadler, who the directors originally wanted to offer the part. But with Abe's first big scene scheduled for the next morning, Miramax execs say they want to try to find someone else for the role. Balis contacts Moore, who puts his foot down, and Sadler ends up taking the job. The next day, with a tight schedule, LaBeouf and Sadler have little time to prepare to shoot the emotional climax of the film. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 020
Chris Moore arrives on the set having seen dailies from the first day. "It was a disaster," says Moore, referring to an emotional scene that ended with an unscripted group hug. Screenwriter Erica Beeney and producer Jeff Balis concur, and Moore chastises both of them for not being more vocal about their displeasure. Meanwhile, on the second day, Efram Potelle and Kyle Rankin make some changes to a battle scene, causing a chain reaction that wastes precious shooting time. Balis advises Rankin to make any changes to the shot list, and not wait until they're ready to shoot to tell the crew about the changes. That night, Potelle and Rankin rewrite an entire scene and, to avoid showing the changes to Beeney, they have their assistant type the new pages up. When Beeney sees the new pages the next morning after shooting has begun, she gets very upset. Moore shares her displeasure, especially after he learns that Rankin was dishonest with Balis about the extent of the changes. Directing finalist Jessica Landaw, who had wanted to direct Beeney's script, visits on the set, and Beeney complains to her about the directors' behavior. At lunch, Moore puts his foot down, telling Potelle and Rankin that they are not authorized by Miramax to make changes to the script. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 021
It's the ninth day of filming. Chris Moore, worried about the infamous "group hug" that directors Efram Potelle and Kyle Rankin allowed into an earlier take of a pivotal scene, is keeping a sharp eye out for any scenes that he feels could be played "too dramatically." Screenwriter Erica Beeney comments that the film is turning out a lot more "weighty" than she expected. She finds herself asking, "Did I write a really cheesy, crappy movie?," but thinks the blame lies with the directors. William Sadler asks for time to work out a scene with his young co-star, but he can't avoid Potelle's interference. Sadler says the young directors are "insecure." The shoot falls behind schedule while shooting a pivotal scene taking place at Tabby's (Amy Smart) wedding. Potelle and Rankin can't seem to come to an agreement about what they want from the actors, and they do take after take without anyone being satisfied. The actors are increasingly uneasy. Moore, Beeney, and Jeff Balis give notes to the directors and discuss the scene in view of the actors. Potelle feels the need to call them aside and have an hour-long meeting about their communication procedures while Smart and Shia LaBeouf (Kelly) wait on the set. The directors claim that the actors are losing confidence in them because they see the producers and the screenwriters giving them notes. Moore says they're losing confidence because Potelle gave a note, and Rankin gave the opposite note after one take. As the crew desperately try to squeeze two more setups into the day, assistant director Dennis Benatar expresses his frustration with the directors' disorganized methods to line producer Joel Hatch. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 018
Twelve days before the shoot, none of the major roles in The Battle of Shaker Heights have been cast. The production can't begin making a shooting schedule until they know whether or not Shia LaBeouf will take the lead role. Miramax makes an offer to Jane Kaczmarek, despite the objections of directors Efram Potelle and Kyle Rankin. Chris Moore explains to the directors that this is how Hollywood filmmaking works. Ben Affleck attends a script meeting. The production gets word that LaBeouf has agreed to star. LaBeouf, who doesn't yet have his driver's license, has to learn to drive a Jeep for the film. William Sadler and Gary Cole read for the part of Abe, Kelly's father. Everyone seems to like Cole except for Potelle. Kaczmarek passes, and Kathleen Quinlan (the directors' first choice), Elden Henson, and Amy Smart are quickly cast, filling all the major roles except Abe. The actors do a table read, and screenwriter Erica Beeney is pleased to hear her words brought to life. Cole passes on the role of Abe. Miramax wants a bigger name than Sadler, so the role is offered to Christopher McDonald, who agrees to take the role the day before shooting is scheduled to start. During a location scout, the production has difficulty finding a gas station at which to shoot one scene. Jeff Balis suggests changing it to a vacant lot, and the directors agree. Beeney is annoyed to learn later that a change was made without her input. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 017
Three weeks to the shoot, and no one has been cast yet! Kate Capshaw, Kieran Culkin, and Liv Tyler are among those turning the film down. Joseph Middleton brings in a young actor he says is "perfect" for the lead role. It's Shia LaBeouf, from Holes and TV's Even Stevens. Efram Potelle is concerned that LaBeouf isn't likable enough, but the readings go well, and Potelle is won over. Thomas E. Ackerman (Beetlejuice) is interviewed to be the film's director of photography, and the interview goes surprisingly well. At a script meeting, Chris Moore expresses his concern that Kelly, the lead character, is a jerk. Screenwriter Erica Beeney gets a bit defensive. Directors Potelle and Kyle Rankin take a meeting with Jeff Balis, and suggest that they might want to do a rewrite of Beeney's script. Balis tries to dissuade them, but they take the idea to Beeney anyway. The filmmakers learn they may lose LaBeouf due to a scheduling conflict with his promoting Holes. Moore is impressed with how the directors handle location scouting. Potelle misses a script meeting to go pick up the car that the production gives him. Potelle and Rankin want Kathleen Quinlan to play Kelly's mother, but Miramax insists that they offer the role to Jane Kaczmarek. The directors consider threatening to quit over the disagreement. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 016
There are about five weeks left before shooting is scheduled to begin. While Erica Beeney works on her second revision of the script, Kyle Rankin and Efram Potelle interview candidates for key crew positions. At one point, they ask Jeff Balis if they really need to hire a production designer, causing Chris Moore to further question whether or not the pair really know what they're doing. Casting director Joseph Middleton continues to push hard for Emile Hirsch in the lead role. Potelle voices his reservations about Hirsch more strongly. The directors and Beeney meet with Sharon Lawrence (NYPD Blue) about another key role, but, frustrated because some actors won't read for their prospective roles, Rankin and Potelle barely say a word at the meeting. Middleton later chastises them for not sucking up to the actress. Rankin and Potelle take off one afternoon to read Beeney's new draft of the script. Forty-five minutes later, Moore shows up at the office, wondering where they are. Word comes down that Miramax has signed off on Emile Hirsch for the lead. After speaking to Ben Affleck and Matt Damon, Moore calls Potelle, at Middleton's insistence, to make sure he's okay with making an offer to Hirsch. Potelle caves. Moore holds another script meeting and has some strong criticism of the new draft, which Beeney does not take well. Rankin and Potelle, meanwhile, don't seem willing to make their opinions known. The production encounters more trouble as many actors pass on the project. Furthermore, their first choice DP candidate, Larry Sher, drops out of the running after Potelle chastises him for interrupting him during an interview. This episode was originally aired back-to-back with episode 15. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 013
On the first episode of the second season of Project Greenlight, the big change in the rules is explained. Unlike last season, wherein Pete Jones won the contest for his script, and got the chance to direct his own film, Stolen Summer, this season, two winners will be chosen -- one for best screenplay, and one for best director. The director winner will direct the screenplay winner's script. Four director finalists, Joe Otting, Dagen Merrill, Jessica Landaw, and the team of Kyle Rankin and Efram Potelle, are chosen based on video interpretations of a nonsensical script sent by the judges. The judges also read the top 50 screenplays (selected by an online peer review) and select the final ten. Those screenwriters are called and invited to Sundance to meet with Ben Affleck, Matt Damon, Chris Moore, and executives from Blockbuster Video and Miramax. On getting the call from Affleck and Damon, one female finalist says, "I wasn't even this excited when I lost my virginity," to which Damon replies, "Oh, so you've already met Ben." One screenwriter gets frustrated during his "pitch meeting" when Jennifer Lopez, Affleck's paramour, quietly walks into the room. One of the director candidates, Landaw, excitedly approaches Erica Beeney, whose script, The Battle of Shaker Heights, Landaw loved. At the end of the episode, Moore gathers the writers together to tell them that four finalists have been selected -- Beeney, Robert Lynn (Prisoner), Daniel Stern and Tyler Fereira (The Rebound Guy), and Sera Gamble and Raelle Tucker (Cheeks). This was initially aired back-to-back with the second episode of season two. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 015
Erica Beeney has been chosen as the contest winner for her script, The Battle of Shaker Heights. Kyle Rankin and Efram Potelle have been chosen to direct. Having seen the first season of Project Greenlight, Potelle expresses concern about Chris Moore's decision to hire Jeff Balis again, but Moore says he loves working with Balis. Meryl Poster of Miramax opines that it's "nuts" that Balis is back. Moore holds the first script meeting, and worries that the contest winners are too polite, as they seem to agree with everything he says. Matt Damon says there's a lot of pressure on the trio, because "for Project Greenlight to continue, this movie has to be successful." Beeney returns home to Columbus for a few days to say goodbye to her friends. Potelle and Rankin check out their new offices at Miramax, and meet opinionated casting director Joseph Middleton. Middleton feels like the directors are setting their sights a bit high (Billy Bob Thornton, Liv Tyler) and wants them to consider Emile Hirsch (The Dangerous Lives of Altar Boys) for the lead. Potelle expresses uncertainty. The directors suggest to Moore that Potelle could edit the film, as he has their previous projects. Moore kind of likes the idea because it will save money. Balis thinks the directors need to be steered, and feels that they should hire an editor. When Moore gives the directors the word from Miramax that they don't want Potelle to edit the film, they passively accept the news, causing more worry that they are afraid to fight for their own vision. This episode was originally shown back-to-back with episode 16. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 014
The pool has been narrowed down to four director finalists (Joe Otting, Dagen Merrill, Jessica Landaw, and the team of Kyle Rankin and Efram Potelle) and four screenwriting finalists (Erica Beeney for The Battle of Shaker Heights, Robert Lynn for Prisoner, Daniel Stern and Tyler Fereira for The Rebound Guy, and Sera Gamble and Raelle Tucker for Cheeks). The director candidates are invited to meet with Ben Affleck, Matt Damon, Chris Moore, and executives from Miramax and Blockbuster to discuss which script they'd like to direct and why. Landaw gushes about the coming-of-age drama, The Battle of Shaker Heights, even going so far as to say it's the only script she wants to be considered for. Otting likes the tricky psychological thriller, Prisoner. Rankin and Potelle also favor The Battle of Shaker Heights, and have specific ideas about changes they'd like to make in the script. Moore expresses qualms about picking a team of directors, worried that they'll waste precious time on the set arguing. Merrill chooses the romantic comedy, The Rebound Guy. Affleck says that, based on their video assignments, Merrill "may have the most raw talent as a shooter." Before the winners are announced at the Sundance Film Festival, Landaw expresses her biggest fear -- "The only thing that would really rock me was if they had someone else do Shaker Heights." This episode was originally aired back-to-back with the first episode of season two. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 025
The team learns from Miramax that The Battle of Shaker Heights will be released in New York and Los Angeles, and will only expand if it makes an astronomical 20,000 dollars per screen the opening weekend. In addition, Miramax doesn't plan to spend any money on television or radio ads. Producer Chris Moore describes this release strategy as "a graceful way to dump" the film. He calls Ben Affleck, and together the two draft a letter to Miramax head Harvey Weinstein, asking him to consider opening the film in the top ten markets. Moore doesn't expect a positive response. Meanwhile, Shia LaBeouf comes in to loop some dialogue, and asks directors Kyle Rankin and Efram Potelle if they've seen the Project Greenlight television show. He confirms their worst fears, telling them, "You guys do look like idiots." Rankin gives LaBeouf some bad news, telling him that his two big dramatic scenes in the film have been cut. Moore asks Peter Gabriel for permission to use a pivotal piece of music at the end of the film, and gets it. Not only that, word comes that Weinstein supposedly watched the film, and agreed to expand the release to the top ten markets the second week. The filmmakers go out to promote the film. LaBeouf and Affleck both appear on The Tonight Show. Affleck teams with Potelle and Rankin for the press junket, while Moore fields questions with screenwriter Erica Beeney. He explains that he chose to appear with Beeney, claiming that the airing of the television show has further strained his relationship with the directors. But the world premiere in L.A. goes well, and the filmmakers part on relatively good terms. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 023
Shooting has wrapped, and the editing process has just begun. "This is really the time we find out whether the movie's any good," says producer Chris Moore. The film's editor is Richard Nord (The Fugitive). Efram Potelle and Kyle Rankin have never worked with an editor before, but Nord gives them a lot of leeway, even letting Potelle sit at the editing table to work on some things. Two weeks into the five-week process, Moore sees a rough cut. He's concerned about the tone, which he describes as a mix of slapstick and heavy family drama. He also complains that for the first 20 minutes of the film, there's no story. But when Rick Schwartz of Miramax asks Moore if it's better than Stolen Summer, the last Project Greenlight film, Moore assures him that it is. Screenwriter Erica Beeney also complains about the tone, saying the dramatic parts are "cheesier" than she'd imagined. She says she's emotionally disengaged from the project. Two weeks later, Miramax executives, along with Matt Damon and Ben Affleck, see a cut. Schwartz and Damon both think it's a good first cut, but Damon thinks it's a bit heavy-handed at times. He has nice things to say about Shia LaBeouf's lead performance. Potelle and Rankin have high hopes for Miramax's all-important test screening, which will determine how much effort Miramax puts into marketing the film. They mock Jeff Balis when he tries to temper their expectations. Moore and the Miramax suits get angry when the directors, making last-minute adjustments, are late getting the tape to them for the test screening. While the audience seems to respond to the film, the scores are not nearly as high as the directors had hoped. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 024
At a meeting after the disastrous test screening of The Battle of Shaker Heights, both producer Chris Moore and the Miramax executives tell directors Kyle Rankin and Efram Potelle that their next cut of the film should push the comedic elements. They disagree, and claim that they didn't shoot anything they could now add to boost the comedy, but they could boost the drama, which they think would help the overall tone. Moore says that after the test screening, Miramax is ready to release the movie straight to video. Ben Affleck expresses concerns about the future of Project Greenlight. As the directors work on a new cut, editor Richard Nord says they're just "rearranging the deck chairs on the Titanic." Screenwriter Erica Beeney works on writing a comedic voice-over, which doesn't seem to fit the film. The directors add more dramatic scenes, and show the new cut to Moore and Miramax's Rick Schwartz. Moore says the new cut flows better, but expresses concern that it's still a family drama. Schwartz takes his time getting back to them, and then, in a conference call, expresses extreme displeasure with the direction they've gone in. He tells them they've made the film "less commercial," and Moore concurs. With 48 hours left to lock the picture, Moore heads to the editing suite to help the directors get back on track. Potelle expresses disappointment that Moore didn't defend their dramatic cut to Schwartz, at which point Moore essentially throws up his hands. Jeff Balis implores Moore to use his powers of persuasion to get The Battle of Shaker Heights into theaters. With Balis' and Beeney's help, the directors scramble to come up with a cut that pleases the suits. ~ Josh Ralske, All Movie Guide

Project Greenlight: Episode 022
The shoot has come down to the home stretch, and the cast and crew are a bit worn out. Spirits are raised when Ben Affleck and Jennifer Lopez pay a visit to the set. Affleck says he's there because he was concerned about the writing in a scene involving Tabby's (Amy Smart) WASP-y family, but he's happy with how Dana Wheeler-Nicholson (who plays Tabby's mother) does the scene. Screenwriter Erica Beeney, meanwhile, has a friendly chat with Lopez. Later, Beeney gives directors Efram Potelle and Kyle Rankin notes in front of the star, Shia LaBeouf, and the directors chastise her for it. During a scene involving Ray Wise (who plays Tabby's father), Potelle objects to the way the boom operator, Sterling Moore, speaks to him. He wants Moore fired, but with six days left to shoot, producer Jeff Balis tells Potelle to suck it up. The two manage to resolve their differences. There's more tension on the set when Smart and LaBeouf have to do a love scene. On the last night of the shoot, LaBeouf is given some new dialogue and has a difficult time remembering his lines. As the hours tick away, the crew does take after take, and LaBeouf's frustration and exhaustion begin to show. ~ Josh Ralske, All Movie Guide

Version Details

Languages/Sound

Eng

Screen Formats

Enhanced Widescreen for 16x9 TV

Subtitle Languages

Spa

Additional Features

cc Project Greenlight Series: Deleted scenes Filmmaker bios Filmmaker scenes The Battle of Shaker Heights: Jump-to-scene feature Deleted scenes with optional commentary by directors Gag reel Feature commentary with directors Kyle Rankin and Efram Potelle Spanish subtitles

Series

Collector's Series

Chapters

Side #1 -- Episodes 1-8
1. Rules of the Game [6:11]
2. Unexpected Guest [1:57]
3. The Finalists [6:30]
4. Pitches [12:07]
5. Narrowing It Down [2:36]
6. End Credits [:36]
1. The Directors' Turn [11:52]
2. Anticipation [2:53]
3. Announement Party [1:53]
4. The Winner Is... [6:20]
5. Reactions [3:58]
6. End Credits [:44]
1. Balis Is Back [3:17]
2. First Script Meeting [2:54]
3. Moving On [3:56]
4. Getting Down to Business [6:33]
5. Video Letters? [5:06]
6. Choosing Battles [6:37]
7. End Credits [:44]
1. Five Weeks to Go [2:26]
2. "Commanding an Army" [3:15]
3. The Perfect Kelly? [3:20]
4. "Wow, They're Mutes" [2:48]
5. Making an Offer [3:52]
6. Script Notes [5:03]
7. I Want a Car [4:28]
8. Locking Larry? [3:14]
9. End Credits [:44]
1. Actors Wanted [6:12]
2. He's Got the Look [1:24]
3. The End of Her Rope [3:30]
4. Passing the Baton [6:04]
5. Scouting Locations [3:02]
6. Casting and a New Car [3:29]
7. Kyle, Efram or Jane? [3:32]
8. End Credits [:41]
1. "The Nature of the Beast" [4:36]
2. Final Calibrations [4:56]
3. Learning to Drive [4:14]
4. Who Is Abe? [4:38]
5. "The Red Zone" [5:28]
6. "We Have a Cast" [4:03]
7. End Credits [:43]
1. The First Shot [7:30]
2. A Wrap [2:34]
3. Heading for a Train Wreck [5:12]
4. Pulling the Trigger [6:12]
5. Building Bonds [7:25]
6. End Credits [:43]
1. Getting the Game Ball [3:16]
2. The Group Hug [4:03]
3. Tweaking the Script [6:19]
4. Damage Control [9:31]
5. Clearing Confusion [5:10]
6. End Credits [:43]
Side #2 -- Episodes 9-13 and Special Features
1. Young Directors [7:34]
2. "Things Don't Always Add Up" [7:30]
3. "A Confrontational World" [4:23]
4. Directing on the Fly [3:48]
5. Night for Day [4:58]
6. End Credits [:43]
1. Surprise Visit [6:20]
2. Taking Issue... [7:48]
3. The Kiss [5:57]
4. Last Day of Shooting [7:22]
5. That's a Wrap [1:32]
6. End Credits [:44]
1. Building a Cut [4:42]
2. "We Have a Movie" [2:52]
3. Shifting and Leaning [4:26]
4. "Negativo" [2:46]
5. More Funny [8:46]
6. The Test Screening [4:37]
7. End Credits [:42]
1. Choosing a Path [4:06]
2. Losing Contact [4:25]
3. Good Enough? [3:18]
4. In the Wrong Direction [4:41]
5. The Battle Has Ended? [3:34]
6. Locking the Picture [7:59]
7. End Credits [:43]
1. Bittersweet News [4:50]
2. Finishing Touches [5:31]
3. "This Is Good" [2:20]
4. Time to Promote [5:10]
5. The World Premiere [8:13]
6. The End of a Long Road [1:57]
7. End Credits [:44]
Side #3 -- The Battle of Shaker Heights
1. Battle of the Bulge [7:10]
2. Trying Times [1:34]
3. Ruby Baby [4:04]
4. "Older Than My Years" [2:39]
5. A New Mission [1:44]
6. Dinner Discussions [2:25]
7. Pupal Adolescence [2:28]
8. The Emotional Truth? [1:30]
9. Objective Accomplished [1:03]
10. "I Think You're Amazing" [1:15]
11. "Cue the Jeep" [4:15]
12. Uninvited [5:04]
13. Forgiving [6:05]
14. End Credits [4:36]

Project Greenlight 2 [3 Pack / WS]: AMG Review
AMG

Includes:

The Battle of Shaker Heights (2003), MPAA Rating: PG-13

Project Greenlight: Episode 019 (2003)

Project Greenlight: Episode 020 (2003)

Project Greenlight: Episode 021 (2003)

Project Greenlight: Episode 018 (2003)

Project Greenlight: Episode 017 (2003)

Project Greenlight: Episode 016 (2003)

Project Greenlight: Episode 013 (2003)

Project Greenlight: Episode 015 (2003)

Project Greenlight: Episode 014 (2003)

Project Greenlight: Episode 025 (2003)

Project Greenlight: Episode 023 (2003)

Project Greenlight: Episode 024 (2003)

Project Greenlight: Episode 022 (2003)

The Battle of Shaker Heights
Those who watched the second season of Project Greenlight will view this coming-of-age dramedy with an eye for the changes wrought by producers Chris Moore and Jeff Balis, who cut out the more saccharine moments in an attempt to save it. Those who didn't watch will just get an overwhelming sense of something missing from the truncated 79-minute Battle of Shaker Heights, the prize awarded to screenwriter Erica Beeney and directors Efram Potelle and Kyle Rankin in HBO's reality contest. What's onscreen can be funny and charming, due in large part to the talents of Shia LaBeouf, who gives an improvisational spark to Beeney's dialogue. But this can't cover up for the massive failure to complete character arcs or resolve plot threads, circumstances complicated by the directors' famous inability to stick to shooting schedules or grab enough usable footage during the brief periods their actors were available. Still, the film's most schizophrenic element was in the script all along -- LaBeouf's Kelly Ernswiler, a Character with a capital C, who's written as a m�lange of quirky (and often contradictory) traits rather than a totally believable person. Although he seems the essence of a liberal free spirit, he reenacts famous military conflicts, fetishizes weapons, and drives an army jeep. He also spends too much time lamenting his participation in a harmless revenge plot against a bully who never showed him the same consideration. Without LaBeouf making him so likeable, Kelly's character deficiencies might have been even more apparent. Ultimately, The Battle of Shaker Heights shows more promise than the first Greenlight effort, Pete Jones's Stolen Summer, but also a greater sense of how amateurs can waste their opportunity. ~ Derek Armstrong, All Movie Guide

Project Greenlight: Episode 019
No reviews available.

Project Greenlight: Episode 020
No reviews available.

Project Greenlight: Episode 021
No reviews available.

Project Greenlight: Episode 018
No reviews available.

Project Greenlight: Episode 017
No reviews available.

Project Greenlight: Episode 016
No reviews available.

Project Greenlight: Episode 013
No reviews available.

Project Greenlight: Episode 015
No reviews available.

Project Greenlight: Episode 014
No reviews available.

Project Greenlight: Episode 025
No reviews available.

Project Greenlight: Episode 023
No reviews available.

Project Greenlight: Episode 024
No reviews available.

Project Greenlight: Episode 022
No reviews available.

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Project Greenlight 2 [3 Pack / WS] - DVD

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