Sentences with phrase «great screenplay from»

Great screenplay from Parker and Stone and a surprising amount of care in game design from Obsidian make this an experience that, while might not offering a challenge, surely achieves its primary goal.

Not exact matches

Part of that likely has to do with the absence of many truly great movies this year, and the fact key contenders — like «The Shape of Water» (the pick by the directors and producers guilds) and «Get Out» (the WGA's original screenplay winner)-- come from genres that seldom receive top awards recognition.

However, the screenplay, direction, and great performances from the kids, particularly Finn Wolfhard, help this movie float.

Obviously such great acting results come from the experienced direction of David O. Russell, who received his first Academy Award nomination for Best Director and noms for Best Picture, Original Screenplay, and Editing.

Other winners were 20 Feet from Stardom for Best Documentary, The Great Beauty for Best Foreign Film, and Her for Best Original Screenplay.

While he gets some great performances from his actors, he doesn't have much of a screenplay to work with.

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

More than anything else, she is bewildered by what has happened to her marriage, and it's not entirely clear from Vanessa Taylor's screenplay (her first) if the marriage was ever all that great.

Directed by Craig Gillespie from a screenplay written by Scott Silver, Eric Johnson and Paul Tamasy, «The Finest Hours» chronicles the greatest small - boat rescue in Coast Guard history.

There are just a couple of issues with the screenplay that prevent Split from being truly great.

Jason Segel does a great job pulling double duty (aside from acting he also wrote the screenplay).

ADAPTED SCREENPLAY Argo, Screenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article «The Great Escape» by Joshuah Bearman; WarSCREENPLAY Argo, Screenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article «The Great Escape» by Joshuah Bearman; WarScreenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article «The Great Escape» by Joshuah Bearman; Warner Bros..

Both Segel and Eisenberg reveal great depths of emotion in their performances and the film is directed with humor and tenderness by Sundance vet James Ponsoldt from Pulitzer - Prize winner Donald Margulies» insightful and heartbreaking screenplay.

He and screenwriter James Vanderbilt take great care in separating fact from fiction, or even speculation, ensuring their combined screenplay and subsequent picture was as close to the truth as they could possibly get, in a case where the truth remains elusive.

Working here with a great, unpredictable screenplay from Taylor Sheridan, Villeneuve conducts a master class of constant suspense, one that ratchets up the tension just as the audience thinks it can grow comfortable.

Argo, Screenplay by Chris Terrio; Based on a selection from The Master of Disguise by Antonio J. Mendez and the Wired Magazine article «The Great Escape» by Joshuah Bearman

The film's greatest influence came through the screenplay, by Rafelson and Carole Eastman; it allowed detours and digressions, cared more about behavior than plot, ended in a way and tone that could not have been guessed from its beginning.

Dwayne Johnson is making his starring debut, Steven Brand (as Memnon) comes straight from a crop of failed TV shows, director Chuck Russell is just coming off of one of the worst movies in 2000 (Bless the Child), and a script that had been rewritten numerous times by hacks that haven't made very much in terms of great screenplays.

The combination of Thomas Mordseth - Tiller's pitch - perfect screenplay and full - blooded performances from a great cast of supporting players (that includes Agnes Kittelsen and Nicolai Cleve Broch) make «Max Manus» a must - see.

Hepburn, who also wrote the screenplay, shows a fondness for neo-realism, with a wealth of handheld shots, often uncomfortable closeups, elements of kitchen sink melodrama ---- great secondary performances from the likes of Nicholas Campbell and Mary Galloway make any soap opera elements utterly convincing ---- and sequences where the bucolic backgrounds and wintry landscapes seem to obsess and overwhelm the characters.

Anders, with help from the screenplay by Brian Burns (whose real - life experience inspired this romp) and John Morris, does a great job of showcasing the modern blended family unit as a healthy relationship.

I love Cuaron, but I think this is a case of a director being too closely affiliated with his movie's visual strengths — and let's be clear, on this front it's a masterpiece — and not closely enough affiliated with its shortcomings elsewhere: the good (but not great) performances, the mediocre dialogue (from a screenplay co-written by Cuaron), etc..

Seth Rogen, who also co-wrote the screenplay, voices Frank, a hotdog who inadvertently stumbles upon the truth about «the great beyond» and the «gods» who pluck them from the shelves and wheel them to what they had hitherto believed was a promised land.

Chadwick (Mandela: Long Walk To Freedom) directs from a screenplay by Tom Stoppard (adapted from Deborah Moggach's novel), along with music by the great Danny Elfman.

Instead of a complete rehash with saltier material, or something so divergent as to be unrecognizable, the screenplay by Michael Brand and Derek Haas (who've previously collaborated on some not - so - impressive efforts like (2 Fast 2 Furious and Catch That Kid) retools Halsted Welles» original work, remaining largely faithful with its strong parts, while fixing a few of the weakness that kept a good Western from being a great one.

After all, it was Eric Heisserer's screenplay from Ted Chiang's story that gave Adams the motivation and the fuel for such a nuanced portrayal of grief and misery, amidst a time of great discovery and tension that Arrival has to offer.

Directing from a screenplay by Kogo Noda, who went on to write many of Ozu's greatest films (including Tokyo Story, 1953, and Floating Weeds, 1959), Ozu fills the film with deft sight gags, many thanks to the antics of the son, yet there's undercurrent of desperation to the comedy.

A story is only as good as its telling, and under the direction of Dylan Baker (the great character actor's far - from - great directorial debut) and through the screenplay by the mother - son team of Toni and Bram Hoover, the telling of this story is just flat - out inept.

Directed by the great Tomas Alfredson (Let the Right One In, Tinker Tailor Soldier Spy), with a screenplay written by the talented trio of Peter Straughan (The Debt), Hossein Amini (Drive) and Søren Sveistrup («The Killing»), featuring behind - the - scenes work from the likes of editor Thelma Schoonmaker (Raging Bull), cinematographer Dion Beebe (Chicago), composer Marco Beltrami (The Hurt Locker) and production designer Maria Djurkovic (The Imitation Game), and listing Martin Scorsese (Silence, The Wolf of Wall Street) as one of its primary producers, how things turned out so disastrously I have no idea.

Playing Barbara, the one of Violet's three daughters who's most distanced from, yet most similar to, her warts - and - all, «truth - telling» mom, Roberts is gifted some of the greatest language in this adaptation of the play by Tracy Letts, who won a Pulitzer and Tony Award for his efforts before shaping his work into a screenplay.

The screenplay, by Steven Zaillian from Thomas Keneally's fact - based novel, is like a mirror - image of Istvan Szabo's great film from the 1980s, Mephisto.

Great acting, Hanks at his best, good screenplay and scripting, masterful directing at times from Mr Spielberg, I would highly recommend this film to anyone... oscar contender me thinks.

Released on December 1, the film has already received great reviews from critics and earned seven Golden Globe nominations including Best Drama, Screenplay, and Directing.

AARON SORKIN, MOLLY»S GAME BEST ADAPTED SCREENPLAY NOMINEE «This nomination represents the great work of hundreds of people — from STX and our producers to Jessica Chastain and the entire cast and crew.

It starts with the screenplay that the great Indian director Satyajit Ray wrote in 1967 for a film he never made about the encounter between a small boy living in a Bengali village and a kindly alien from outer space.