Sentences with phrase «bite out of the script»

This film is under the radar for one reason only: character actors Charles Coburn and Spring Byington step from behind the shadow of the leads and take a bite out of the script themselves, and man, what a bite.

Not exact matches

Scene by scene, the movie is a bit uneven, but it's never long before it presents a moment of genuine glee, whether it be Mannix's presentation of the Hail, Caesar script to a group of religious luminaries for review («The Bible, of course, is terrific,» Mannix allows, sounding for an instant like Donald Trump); a marvelous exchange in which Fiennes's director tries to get through to his out - of - his - depth new star (respond to her «importuning,» he advises, with a «mirthless chuckle»); or an extended, gloriously homoerotic Tatum tap - dance number entitled «No Dames.»

With that, Tarantino brought out the star - studded cast with whom he'd rehearsed the first draft script for three days: Samuel L. Jackson as Major Marquis Warren, Kurt Russell as the cruel bounty hunter John Ruth, Tim Roth as the English «bit of a fop» Oswaldo Mobray, Amber Tamblyn as Daisy Domergue, Walton Goggins as Chris Mannix, Michael Madsen as John Gage, Bruce Dern as Confederate Gen. Smithers, James Parks as stagecoach driver O.B., Denis Menochet as the Frenchman Bob, Dana Gourrier as Minnie, Zoe Bell as Six Horse Judy and James Remar as Jody.

This is done in one of the most grating voice - overs in recent memory, the purpose of which seems to exist to either add bits of exposition and flavour that were not organically integrated into the script (perchance a result of Allen popping out a film a year) or simply make the film feel like it is moving forward while Vicky and Christina sit in cabs or take pictures in the various marketplaces.

Chrissie Fit calls the script - writer out when a supporting character fires off a chunky bit of exposition.

Ultimately, The Nice Guys gets by on the strength of the two leads and a handful of laugh - out - loud moments that are unfortunately few and far between, although a little bit of editing and re-working of the script could have made all the difference, making it tighter where it gets a bit flabby and keeping the momentum going because, unlike Lethal Weapon, there is the sense that Russell Crowe and Ryan Gosling have had to work a little bit harder than Mel Gibson and Danny Glover to get that spark going between them.

Rossi wrote a script exploring the most gruesome depths of repressed grief, Morano certainly pulled it out of the actors and added further intensity with her blurry focus and pore - revealing intimacy in almost every scene, throw in the ear - assault and too - serious actions of the characters and it stops being insightful and starts being a bit scary.

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.

The script panders a bit, heating up towards the end when some of the underlying truths come out.

After the setup, in which the Robinson family — father John (William Hurt, looking and sounding as spaced out as he does in interviews), mother Maureen (Rogers, wasted), daughters Judy (Heather Graham, ditto) and Penny (a heavily made - up Chabert, looking like a junior version of Neve Campbell in Wild Things), and son Will (young newcomer Johnson, making the best of it)-- and pilot Don West (LeBlanc, doing a bad Han Solo impression) find themselves lost in space after their ship is sabotaged by evil stowaway Dr. Smith (a watered - down but still - lively Oldman, cashing a paycheck and loving every minute), the script's «stream» of events becomes so fragmented and random that it seems to be made up as it goes along — and Hopkins does little to make what does go on the slightest bit interesting.

The script by Gerald Ayres (Rich and Famous) suggests a bleaker film than what plays out here, and perhaps a bit more personal, but in the waning days of the disco era, superficial treatments were the norm for fare aimed at younger viewers.

Internet buzz has long indicated that a few Avengers bite the dust in Infinity War — and it should be pointed out that the script plays fast and loose with the permanency of death.

Then you move onto the actual script and you see the story just starts going and makes no attempt to separate itself from familiar plot devices of the «boy out to avenge his father's death» bit.

Some of the script is a bit painful thanks to the teen / hipster vibe, but overall the experience is well worth checking out.

Greenland Post Script: In a very different research project, scientists are preparing to use a radio - controlled model boat normally deployed in lakes by British carp anglers to dole out enticing bits of food over a waiting hook.