2021: A Year in Review

Robert breaks down what worked (and didn’t work) in some of the stories he’s seen throughout 2021 on the stage, page and screen.


Robert McKee’s “Works/Doesn’t Work” Review IMPOSTERS Created by Paul Adelstein & Adam Brooks It Works. (Spoiler Alert!) I’ve just finished IMPOSTERS (2017-2018), Bravo’s two-season crimedy. The series works. It satirizes con artists and...


Robert McKee’s “Works/Doesn’t Work” Review PARASITE Written & Directed by Bong Joon-ho It Works. (Spoiler Alert!) This excellent Korean crimedy from writer/director Bong Joon-ho (THE HOST, SNOWPIERCER) has become an international...


A tear-stained list of Jerry Springer chants (He stole my money! He stole my property! He stole my baby!) infects this wannabe art film.


The enmity between Mary and Elizabeth becomes a kind of legal argument that drags on for 40 years. Scenes are thinly disguised prosecution v defense debates over whose queenship is legitimate.


Robert McKee’s “Works/Doesn’t Work” Review THE FAVOURITE Written by Deborah Davis & Tony McNamara It Works. (Spoiler Alert!) THE FAVOURITE is my favorite for the Best Picture Oscar in 2019. Here’s four reasons I would love to see it...

Widows (2018)

This excellent film merges the Heist (one of the fourteen subgenres of Crime) with subplots of Social Drama, Political Drama and Domestic Drama and uses this mix of genres to revitalize tired conventions.

A Simple Favor (2018)

If you are looking for a breezy, fun crime story, A SIMPLE FAVOR delivers just that. But for the writer looking to study a fine work, the film offers skillfully executed examples of three key writing principles.

The Third Murder (2017)

This courtroom drama delivers a fine reworking of the Open Mystery. We know who committed the murder but not why. The storytelling builds curiosity by making us guess between at least six different whys and the possibility of innocence.


If Oscar Wilde diddled Noel Coward (or the other way round), this show would be their great great grandchild.


Robert McKee shares his thoughts on the new film by 45 YEARS director, Andrew Haigh.