Two forrest rangers, one a quiet loner and one a happily married father to be, while on the search for a child lost in the woods crash their helicopter far from any recognizable landmark they must survive the wilderness and find their way back.
NbzLogliner
Two forrest rangers, one a quiet loner and one a happily married father to be, while on the search for a child lost in the woods crash their helicopter far from any recognizable landmark they must survive the wilderness and find their way back.
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Richiev’s logline serves the purpose. ?But I agree with Nir Shelter that the story lacks a hook to make it stand out as a new and different take on the man versus nature genre. ?It needs to find a trail less traveled through the genre?– or blaze a new one.
When their helicopter crashes, two forest?rangers must survive the wild to make it back to civilization.
Agreed with Nicholas.
I’ll add that boiled down to it, this is a survival story – man v wild. The most recent successful example of a similar example is ‘The Grey’, which just barely made it by the skin of its teeth (pun intended). I don’t believe a mere survival story can make it today, especially in lieu of having the likes of Bear Grills on TV. You need an additional layer of interest, most likely best served in form of an obstacle. The Grey used a pack of unusually dangerous wolves, what’s yours? Again only my opinion but the background story of searching for the child won’t do or isn’t enough.
I’d first focus the logline on the central character – the one with the bigger odds, or who arcs further throughout the story. This focus allows your audience to understand a single character’s goal and stakes, and follow the through line of your film.
The inclusion of the purpose of their mission before their crash is unnecessary unless it’s going to figure into the second half of the logline in some meaningful way (like if their goal is really to continue to the mission. if their goal is just to survive – or get home – and this is a secondary plot, I’d keep it out of here).
So … focus on one character. Drop secondary plots.
“When their helicopter crashes in the forest, a misanthropic ranger and his colleague must brave the wilderness and return to base.”
I’ll admit, removing the missing child angle makes the concept lose some of its hook, so maybe you need to find further justification for keeping it in there.