Sentences with phrase «action than the script»

However, the story doesn't carry much weight, more the style and action than the script.

Not exact matches

Such risks and uncertainties include, but are not limited to: our ability to achieve our financial, strategic and operational plans or initiatives; our ability to predict and manage medical costs and price effectively and develop and maintain good relationships with physicians, hospitals and other health care providers; the impact of modifications to our operations and processes; our ability to identify potential strategic acquisitions or transactions and realize the expected benefits of such transactions, including with respect to the Merger; the substantial level of government regulation over our business and the potential effects of new laws or regulations or changes in existing laws or regulations; the outcome of litigation, regulatory audits, investigations, actions and / or guaranty fund assessments; uncertainties surrounding participation in government - sponsored programs such as Medicare; the effectiveness and security of our information technology and other business systems; unfavorable industry, economic or political conditions, including foreign currency movements; acts of war, terrorism, natural disasters or pandemics; our ability to obtain shareholder or regulatory approvals required for the Merger or the requirement to accept conditions that could reduce the anticipated benefits of the Merger as a condition to obtaining regulatory approvals; a longer time than anticipated to consummate the proposed Merger; problems regarding the successful integration of the businesses of Express Scripts and Cigna; unexpected costs regarding the proposed Merger; diversion of management's attention from ongoing business operations and opportunities during the pendency of the Merger; potential litigation associated with the proposed Merger; the ability to retain key personnel; the availability of financing, including relating to the proposed Merger; effects on the businesses as a result of uncertainty surrounding the proposed Merger; as well as more specific risks and uncertainties discussed in our most recent report on Form 10 - K and subsequent reports on Forms 10 - Q and 8 - K available on the Investor Relations section of www.cigna.com as well as on Express Scripts» most recent report on Form 10 - K and subsequent reports on Forms 10 - Q and 8 - K available on the Investor Relations section of www.express-scripts.com.

Sounds like a great experience to get behind the action, been to a couple, they are more scripted than what appears on the screen.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

Although Demi Moore does better work here than in her usual mode of trying to be a star, a one - note terrorized mom, who is denied any logical actions by the script, is not compelling.

The tone certainly seems to be more serious than the Pirates movies, and if any of the supernatural elements from earlier script drafts remain, they're played down in the promo, but there's plenty of big - scale action, mostly on - rails, to be seen.

Ben Palmer's Man Up's Lake Bell and Simon Pegg are charming and well matched as a couple who fall in love over the course of an action - packed day, but a corny, heavy - handed script makes it much harder than it ought to be to care whether they wind up together.

A foul - mouthed send - up of testosterone - infused, small - budgeted»80s action flicks, MacGruber is more of a functional than revelatory success — its script doesn't really substantially or satisfyingly delve into a number of amusing character defects it sets up for its self - involved hero.

by Bill Chambers Max Landis follows up his American Ultra script with another action comedy about slick killing machines but abandons the Manchurian Candidate backstory in a grotesquely cynical fashion: When Sam Rockwell throws knives at new girlfriend Anna Kendrick to prove she can catch them, his conviction is based on nothing more substantial than her being the star of this particular show.

Netflix announced on Tuesday that it had acquired the rights to a new action flick called «Six Underground,» and it's already got a seriously impressive roster of creative talent: Reynolds will star; «Deadpool» and «Deadpool 2» screenwriting duo Rhett Reese and Paul Wernick are penning the script; and none other than Michael Bay is directing.

This story should, first and foremost, be a character piece focused on Domino and the bounty hunter world; the action in this script acts as a pay - off to those wanting more than a biopic.

He doesn't show a knack for action sequences, and he frequently stumbles in the comedy as well, which is more an indication of a script in need of tweaking than an indictment of talent involved.

As previously mentioned, Black is known more as a screenwriter than a director, having written scripts for Lethal Weapon 1 and 2 as well as The Monster Squad, Last Action Hero and The Last Boyscout.

A smarter - than - expected script turns this noisy sci - fi action movie into something remarkably entertaining.

What looks like a rather standard buddy action comedy is elevated by a smarter - than - normal script, skilful direction and surprisingly offhanded chemistry between Washington and Wahlberg.

Moving away from the horror elements of The Terminator, Terminator 2: Judgment Day is an all - out war of car chases, fight scenes, shoot outs, nuclear explosions and a phenomenal, if gratuitous set piece where the Terminator blows up numerous police cars with a machine gun for no other reason than the script required an action beat.

With a script by Brad Ingelsby (Out of the Furnace), this thriller has more substance than most, although it's also been compromised by the inclusion of a lot of contrived action mayhem.

Paul Thomas Anderson for teaching me that it's ALL about the script and if you have the right actors directors don't have to do anything on set but be a fan, Lumet for his films and his book, a young directors» must read, Coppola for his courage in filmmaking, Steven Soderberg for refusing to ever be put in a box and pushing the form as far as he can, Kathryn Bigelow for giving masterclasses in action, James Cameron for Terminator 2 and prove big budget cinema can still be perfect cinema, Sean Penn for bringing his acting chops to directing, David Mamet for his scripts and his dialogue, Nolan for having more heart than most people seem to give him credit for (Memento, Rises, Inception and Interstellar all made me cry.)

The Buzz: Statham has made no bones about his desire to inherit the action - hero throne from Bruce Willis, and even if he tends to choose shittier scripts than Willis, he's got the chops — and hell, at least this isn't another «Transporter» sequel.

We have all the action heroes and Method script - chewers we need right now, but the Cary Grant department is understaffed, and Hugh Grant shows here that he is more than a star, he is a resource.

A second viewing on Blu - ray opened up some of the attributes that I missed — most notably the lovely photography — and made me realize that I was reacting negatively to certain plot twists in the script by Baker and Chris Bergoch, as well as the actions of certain characters; more and more, I find that I don't wish to spend any more time than is necessary with people (including entirely fictional creatures) who are selfish and unkind.

Its motion - capture CGI renders the characters in rubbery, apple - cheeked versions that sometimes slide queasily into the uncanny valley; its script (written by the dream team of Doctor Who show - runner Steven Moffat, Hot Fuzz writer - director Edgar Wright, and Attack The Block writer - director Joe Cornish) is an of - the - moment action movie, little more than a lengthy series of big setpieces, crammed with fights and chases.

All the supporting cast are great and take full advantage of a very witty script that has a lot of heart and focuses on character development rather than action.

Though the film does a better job of capturing the spirit of the «Hitman» franchise with violent, stealth - based action sequences, it's bogged down by a cheesy and predictable script that shackles its titular character to Hannah Ware's human MacGuffin for no other reason than because Agent 47 would be an emotionally detached bore on his own.

Arguably the greatest weakness in the film is the script, which makes the events play out like a live - action cartoon rather than something (relatively) more grounded.

Working from a brilliantly Pynchon-esque script (writer Earl Mac Rauch took several passes at it, resulting in a 300 - page «bible»), Richter helms the action with the confidence that his story is weirder and wilder than virtually anything else out there.

My expectations were higher than this after the frightening prologue and the intriguing and haunting first act, though, but the script (by Fresnadillo, Rowan Joffe, Jesús Olmo, and E.L. Lavigne) confines its premise into a fairly standard action - horror amalgamation.

Still, there are more than enough laughs and clever surprises in this broad and sometimes violent farce to warrant a recommendation, thanks to a solidly funny script by Mark Perez, some pretty neat camera moves and choreographed action / comedic sequences from directors John Francis Daley and Jonathan Goldstein — and a likable and talented ensemble cast, led by two of my favorites.

Included is Sho Kosugi: Martial Arts Legend, a new 21 - minute interview with the actor about him and his career; The Making of Black Eagle, a 36 - minute featurette with Sho Kosugi, director Eric Karson, screenwriter Michael Gonzales, actors Doran Clark, Shane Kosugi, and Dorta Puzio; Tales of Jean - Claude Van Damme, a 19 - minute featurette with many of the same people speaking about their experiences working with Van Damme; The Script and the Screenwriters, a 27 - minute featurette with Michael Gonzales and Eric Karson discussing the film's development; a set of 11 deleted and extended scenes, all of which are in the extended cut and offer up a tiny bit more story and character development more than additional action or carnage; trailers for the film itself, D.O.A.: A Rite of Passage, Attack of the Killer Tomatoes, and Savannah Smiles; a fold - out poster; and a DVD copy of the film, which offers up all of the same extras.

While the overall story arch gets muddled with too many ingredients, and sometimes the script and secondary actors prove to be less than impressive, the action is thrilling and the whole thing is rather fun, if you are into this sort of thing.

Orlando Bloom's iconic Legolas is somewhat disappointing in this latest installment, as is Ian McKellen's brief involvement as Gandalf, but this is to be expected with the script focusing so much more on assailing us with erratic action scenes than portraying the complexity of these characters.

It's true that the subject matter is darker in tone than the other releases, but the inventiveness and brilliance more than keeps the action moving and story perplexing (in a good way), thanks to a fantastic script from Bob Gale (Interstate 60, Trespass), who keeps the in - jokes and humor in perfect step with the first film.

Lily James, who may or may not have the making of a film star, is well cast as the recessive, restless and endlessly curious Juliet, and it's always a pleasure to watch Tom Courtenay in action: he has a way of bringing more to a part than is written down in the script.

This includes actions such as test papers being incorrectly opened, pupils cheating, over-aiding of pupils by test administrators, changes being made to a pupil's test script by someone other than the pupil or «inflation / deflation of teacher assessment judgements».

By combining feedback from players of the original with Blitz Games Studios knowledge and experience, every area of the game has been given an overhaul: * New animations for every character, new graphics, user - interface and effects * Complete voice - acted English dialogue, and French & Spanish translations of a script four times bigger than the original * New puzzles, and sub-quest making the game over twice as long * Four new endings dependent on the players actions, and playable epilogue * Context - sensitive controls, and improved «feel»

More than anything, I think this game has recaptured many of the aspects of console gaming that really shine for me: multiple players, same screen, fast action, fun puzzles, working together, a world with plenty to be discovered, and surprises (and I don't mean scripted «surprises», I mean surprises the players find in the environment and mechanics, like the Totec / Lara double jump).

I'm not saying «The Rock» can't play a simple character onscreen, but if Morgan truly believes he is the best actor suited for the role, than the script must be considerably different than the action game.

Indeed, when asked about his Uncharted script in recent weeks, writer Joe Carnahan himself declared «I've never written crazier sh ** in terms of an action sequence than what's in that movie.»

Despite fantastic environmental design, solid action fundamentals and elaborate scripted sequences the game really becomes less than the sum of its parts, and it's surprising to see it flail around in this way.