Sentences with phrase «bad as the script»

The technical bits of the movie, such as the camera trying really hard to be creative with oddly framed shots, are as bad as the script and performances.

Not exact matches

Because in some cases, scripted responses can come across as bad as no response at all.

The cast do little to alleviate the poorly written script of its bad puns and embarrassing silliness, forcing us to group everyone together as the guilty party responsible for entertaining Schumacher's absurd ideas.

We felt as if we had been playing parts in a fascinating movie that suddenly took a bad turn, in which we had worked like dogs for two weeks to produce something really spectacular and then were written out of the script.»

The music, which might be described as inferior Mozart, was not bad, though it had nothing whatever in common with the script and the staging.

Yes, the authors of the Gospels were a bit like a group of screenwriters fulfilling a prediction that James Bond will save the World, get the girl and kill the bad guy as the write the script for the upcoming Bond film.

Worse than that, the script even uses «ladies» as a derogatory term for slow flyers, an idea which belongs in the same dustbin as the phrase, «you throw like a girl»

In professional wrestling, a heel (also known as a rudo in lucha libre) is a wrestler who is villainous or a «bad guy», who is booked (scripted) by the promotion to be in the position of being an antagonist.

I still expect Cuomo will end up the nominee, though (as he probably should — anyone that wants to be Governor of NY simply has to follow the recent script of Spitzer / Cuomo — become AG, go after Wall Street — not saying it's a bad thing, but that's the script).

It was as if it was a bad baseball movie script written for Justin Timberlake to play or something.

It has a reasonably tight script and is well cast, with Warner Baxter playing the lawyer and Myrna Loy as the gangster's moll, a «bad girl» with glittering eyes who he quite understandably falls for.

It has the kind of cynical and darkly politically incorrect humor that is among my favorite (it made me laugh out loud the whole time) and an excellent script (which I wish I had written) that makes fun of how ridiculous the characters are as they expose the worst in themselves.

And the fact that the script didn't meet the typically none - too - discriminating standards of actors like Tara Reid and Chris Klein should be your first clue as to how bad it is.

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

Jesus, one of the worst horror movies ever made, it sucks in almost every aspect, the script is boring and predictable as always, the sums up all the movie, and the ending, WHO THE HELL WROTE THE ENDING?

As far as the script goes, again, not the best but also not that baAs far as the script goes, again, not the best but also not that baas the script goes, again, not the best but also not that bad.

Not thinking it could work as a feature film, they finally launched a revival series in the late 1980s with Peter Graves back as the head of the Impossible Mission force, but bad scripts, lack of energy and a writer's strike killed the show after two seasons despite an interesting cast.

Well, what we didn't tell you (because we didn't know) is that it's a prequel to My Sex Life... or How I Got into an Argument that takes us back to the teenage years of the characters in the 1995 film... And least promising sequel of the week has to be Spring Breakers: The Second Coming, a cash - in scripted by Irvine Welsh and directed by Jonas Akerlund, the man behind such bad - boy music videos as «Smack My Bitch Up» and the 2002 meth - addict comedy Spun.

In The Descendants George Clooney was arguably cross-cast as Matt King, an unwanted husband devoid of a sex life, and similarly The Way Way Back's script doesn't give celebrated funny man Steve Carell so much as a bad dad joke in his role as Trent.

Freeman is the one that brings more to his role than the script mandates, as he is a bad guy, but not evil, only seeing his role as an assassin - for - hire as a job rather than a pleasure.

However, as the film builds toward its climax that culminates in moments of violence, Rubin's film, working off of a script by first - time screenwriter Andrew Stern, increasingly overplays its hand, as the scenarios go from relatable to worst - case.

I felt as if the writer had pulled off random events, some good, some bad, from here & there and assembled it into the script anyhow.

(Mark Andrus wrote the script as if he'd been binge - watching the Hallmark Channel, and Rob Reiner directs without flair or imagination, but is amusing in a small role as a piano accompanist with a bad toupee.)

The script is not as bad as Prometheus but there is way too much expositional dialogue for comfort.

As this is a Shane Black script, the bad guy quips about «Baywatch Nights» and has entrance music that's a whammy - bar guitar note.

There are occasional bursts of well - observed comedy in Comet «s largely insipid script but they are too few between the dreary dialogue and occasional badly judged observations on subjects such as rape and eating disorders.

It's a cute idea, but it gets old real fast as the script constantly tries to mine laughs from the same few jokes and undermines emotional moments with stupid stuff like ostrich rodeos, bad child actors and rhinos having sex.

Trust's script, by Andy Bellin and Robert Festinger, pulls no punches and director Schwimmer elicits uniformly excellent performances from his cast, but even as we follow the emotional heart of the story — and realize that rape may not be the worst thing that's happened to Annie.

Too bad it's all for naught as the script is just isn't up to that level.

Taylor Allen and Andrew Logan's script finds a natural early analogy in his bad back (he wears a brace under his suit), the result of a 1964 plane crash that killed a campaign aide; it's also smart enough to recognize the theatricality of the «Kennedy curse» as a subject worth interrogating.

Pizzolatto has previously described the script as being about «hard women, bad men and the secret occult history of the United States transportation system.»

Along with longtime producing and writing partner Grant Heslov, Clooney took the Coen Brothers» post-Blood Simple, proto - Fargo script and married a classic Coen Brothers» plot involving greedy, inept criminals, cosmic comeuppance, and film noir homage to a woefully misguided, badly underwritten, running racial subplot that could have been safely deleted altogether or rewritten as a standalone film.

After a few comments from the actors — Lilly knows almost nothing about her character as she's not yet seen a script, Stoll alludes to his character being the scientist bad - guy, and Rudd prepares for superhero stardom — they played a video made just for Comic - Con, as the film hasn't started any filming.

Worse than that stale premise, is the script's stilted dialogue, which frequently sounds unnatural such as when Sheeni asks Nick to put some suntan lotion on her back: with «Would you mind applying this to my exposed areas?»

God Particle is another contained thriller, which like 10 Cloverfield Lane (originally came in as a spec script titled The Cellar) was set up through Bad Robot and Paramount's low budget division Insurge ($ 5 - 10 million films).

It's as if they're all thinking, «Wait, is this script by Cormac McCarthy really as bad as it sounds?»

Snyder provides step - by - step instructions, as a Lego set does, on how to assemble the necessary 15 pieces of a movie, with each piece representing an important moment in a script («Set - up,» «Midpoint,» «Bad Guys Close In») that, when snapped together in the right order, builds the ideal movie.

Del Toro seems to view plot and character development as simply a clothesline on which to hang a series of brain - searing images, and while that's not necessarily a bad thing (plenty of great directors have been stylists above all else), it means he keeps getting undermined by his scripts» odd tendency to never give him free rein to indulge in style over substance.

Neeson gets to play the compromised hero set up as a patsy, and who gets a shot at redemption when he defies his place in the bad guys» script, but it's no Taken.

Derrickson worked on the script with regular writing partner C. Robert Cargill and the story finds Benedict Cumberbatch as Dr. Stephen Strange, an arrogant New York surgeon whose hands are badly hurt in a car accident.

WHY: Robert De Niro may be choosing better scripts these days, but he's not immune to appearing in bad movies, as evidenced in this direct - to - video thriller that plays like a mix between «Speed» and «John Q.» Director Scott Mann and writer Stephen Cyrus Sepher have created an incredibly predictable crime flick that uses just about every cliché in the book, from the desperate father trying to save his child, to the villain with a crisis of conscience.

Worst - case scenario: Much of the early buzz surrounding The Hateful Eight focuses on its cinematography, and with the extensive re-writes that have occurred since the first draft of the script leaked online last year, The Hateful Eight could end up as an unfocused example of style over substance.

Certainly, his prominent presence here has to damage his value in Hollywood, and as one of the film's producers, he clearly deserves blame for more than just bad script selection.

Miles Teller, who appeared in the film as Reed Richards / Mr Fantastic, also opened up on the film's failure last year and claimed that a bad script was to blame for the poor reception.

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.

Kate Winslet and Josh Brolin weren't bad so much as they were just trapped in an awful script, working for a director than had never been anything but competent.

But there comes a point at which the script's desire to come off as another Very Bad Things starts to clash with Thorne's loopy directorial choices, and the film's various positive attributes are slowly - but - surely crushed beneath the weight of several overtly outlandish elements (including, but not limited to, Darren Fung's accordian - heavy score).

You see ingloriously bad scene after ingloriously bad scene and eventually begin to wonder whether people really stood there with boom mics and tattered scripts in hand, day in and day out for months, as these crimes were being committed.

Final Verdict: Not as bad as you expect it to be, but an inconsistent horror that is having too much fun to ponder too long on script.

Tomorrowland has hanging about it, in other words, all the elements of disaster: winky meta references, lack of narrative cohesion, desperation - born mistakes, bad screenwriter / Nick - Riviera - bad script doctor Damon Lindelof as Bird's co-author... and yet it's good somehow.