Sentences with phrase «characters than the script»

Roger Ebert says Kristen Stewart and Dakota Fanning «bring more to their characters than the script provides» and he likes Michael Shannon's performance as their manager, Kim Fowley:

Not exact matches

Interestingly, the character of Marianne is much less attractive on the pages of the script than the Marianne we both saw and heard on the screen: much more selfish, demanding, even cruel.

But what screenwriter and Potter mainstay Steve Kloves does with the script in Part 2, tying those characters all together and giving them meaningful parts, is nothing less than masterful.

Still, for older kids and the adults that accompany them, this script offers an engaging twist to the superhero genre and more rounded characters than most animations.

In featuring likable and intelligent characters as well as some interesting plot turns, the script more than adequately does its job as a support beam for the visuals.

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.

With a a messy script full of expository dialogue, confusing motivations and plot holes, this uninteresting and generic movie is also only able to move forward by relying on stupid characters who are no more a killer elite than a bunch of incompetent amateurs.

The script is phoned in and rather than focus on the Autobots like in the cartoon the film focuses on the poorly written human characters who aren't that interesting.

As the stakes escalate, Mark Perez's script still organically makes time for the characters» realities, like Max and Annie having trouble conceiving a child, without such story points feeling too forced, and plays on the expectations of thriller plot twists more than once.

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.

The script, credited to Reynolds, Rhett Reese and Paul Wernick, finds the mutant Deadpool meandering his way to the X-Mansion and joining various X-Men members — including Domino (Zazie Beetz) and Colossus (computer effects plus the voice of Stefan Kapičić)-- as they try to protect an alienated, rebellious teen mutant called Firefist (Julian Dennison) from assassination by the Terminator, er Looper, er mercenary - from - the - future Matthew Cable (Josh Brolin, aka Young Nick Nolte Returned, playing his second Marvel character in less than a month).

This less than mediocre sitcom has a very narrow target audience; very likely, the show even insults the target audience with one dimensional characters and boring script.

The script is particularly weak, being more concerned with moving from one joke to the next via predictable plot points than it is about developing the characters and moving our fantasy world on a little bit.

For starters Kasdan's script is beautiful and makes the characters so much more than two dimentional cutouts.

A much more interesting story and lead character than usual for the series, but the weak script and aging combat system fail to make the most of it.

The characters are one - dimensional and unappealing, the script is scatterbrained mush, the music is redundant and ineffectively used, and the message gets lost amid idiotic supporting characters with little better to do than mouth un-pithy lines for no apparent reason.

«And rather than focus on the script and the scenes directly, we fleshed out the relationship the characters had prior to this momentary snapshot that you get of them in the movie: what they experienced together, how they kind of grew apart.»

One major problem is a ridiculously unconvincing villain: The script attempts to shoehorn in a bit of Skyfall - style backstory between Bond and his enemy, which sadly leaves the character looking more laughable than terrifying, despite Waltz's best efforts.

The period of the creation of the atomic bomb seems like one ripe for dramatic storytelling, but a bit too much of this show comes off as overly scripted, more manipulative than character - driven.

Final Verdict: Poor character development, an uneven script, but at the end of the day, this is more fun than I expected.

But while director Oliver Hirschbiegel («DasExperiment») very effectively takes youdeep inside Nazi Germany's crumbling heart and brings many infamous momentsacutely to life, his film doesn't offer much in the way of new insight.The script is more of a textbook play - by - play than an examination of impulsesand psyches, and while the Hirschbiegel and his cast add those dimensionsthrough their fine work, it seems the only way he could invest the audiencein these events was by seeking out a sympathetic minor character — inthe person of Hitler's young secretary, Traudl Junge (Alexandra Maria Lara)-- and beef up her significance.

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.

While the script buries him in the Patch Adams - isms, Ellefsen somehow rises out of the tedium with a more likable character than many of the previousones patently made for tearjerkers.

And not even so much through... I'm not the world's greatest believer in auditions and line readings, and all that, because the condition is, somebody comes in with a script in their hand and stands there in your office, and they may be skillful, or whatever, but it's so different than what it will be under photographic conditions on the set, knowing you already have the part, knowing you are the character.

The script smashes through rapid - fire character introductions, each bigger and broader than the last.

However, rather than getting us to invest in these stock characters, the vast majority of the opening hour is ineffectual, with the film continuously hampered by a poor script that does little to add layers to its cast of players.

The likeability quotient is high enough in the cast (particularly with Kinnear and Wolff) that these plots are more involving than tiresome, despite a script in which a drug addiction or terminally ill mother is just a prop to trigger one character's caring instincts for another.

The script is minimalistic, as Colangelo prefers to deepen the characters rather than construct a detailed plot.

Certainly not for even the slightest modicum of character development or dimension, as a talented cast led by Jennifer Lawrence and Javier Bardem is criminally underserved by a script that treats their characters as props rather than actual people with inner lives who the audience are supposed to care for.

One major problem is a ridiculously unconvincing villain: the script attempts to shoehorn a spot of «Skyfall» - style backstory between Bond and his enemy, which sadly leaves the character looking more laughable than terrifying, despite Waltz's best efforts.

A smart script and vivid characters make this rowdy hockey comedy much more engaging than we expect.

The key problem is the decidedly dull script, which throws up a handful of decent ideas, but fails to do anything interesting with them — one of the characters is obviously meant to represent the misogynistic attitudes behind the Gamergate controversy, but the film is content just to push that to its extreme and turn him into a full - on murderous scumbag, rather than explore it in any depth.

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.

It seems quite obvious at this point that the Russo Brothers were more than happy to comply, seeing as how they went ahead and got Waititi to help develop his characters for their script.

While Abramsen played a new character in «The Stakelander» who has very little dialogue and backstory in the screenplay, she admitted the process of bringing Lady to the screen «was a lot harder than I thought it was going to be... I took the script and ran with it, and created some of my own dialogue and inner monologue in my head.

If someone brings out a fantastic script and story and character, then I will think of that more than the fact that it's a period piece.

The beauty of the script is that Lily Collins» character is so much more than a film about the illness.

Here, McGregor actually does as fine a performance as he can given the limitations of the script, as he has played less - than - genius characters in the past.

All up, it's an entertaining, thought - provoking, wonderfully scripted, acted and directed sporting biopic that embraces the contradictory claims of its characters in an attempt to paint a portrait of Harding that is more than a two - dimensional tabloid tease.

Director Joe Wright recognizes this and thanks to a sharp script by Anthony McCarten, Darkest Hour is more than just a stoic piece of work that has characters occasionally yelling at each other.

There's no way you could convince me that this movie started rolling film with a completed script, as every character, scenario, and line of dialogue feels entirely random, and most of them go on interminably longer than they need to.

Realized with an eye to detail both in the script and on the set, carried out by a cast who understand the nuances found between the showier moments of their characters and the story, and brilliantly conceived and captured by Haynes, long - form television — and hell, most movies — doesn't get much better than this.

Though it can technically be labeled as a time travel film, «Safety Not Guaranteed» is more about its characters» relationships than the veracity of the sci - fi premise, and that's thanks to Derek Connolly's excellent script and the fantastic cast.

For all of his obvious skills and uncommon talent as a visual storyteller, Kosinski's first two films were short on character depth and emotional engagement, but whether a function of Kosinski's innate preferences for spectacle over substance or simply script - related issues, Kosinski's feature - film output made him an odd, left - of - field choice to direct a film about American firefighters and the Yarnell Hill Fire of 2013 that resulted in the greatest loss of firefighters since 9 - 11 more than a decade earlier.

But unlike De Palma, who tends to undo his movies through over-directing and loving style over character, Tarantino almost undoes this film by under - directing and loving his script more than his technique.

Although the script thankfully removes the notorious rape sequence of one of its core characters, it's attempt to play the brutal attack of an unarmed woman for laughs is more than a little unseemly.

Penning 21 - minute scripts for shows whose characters have been established and extensively developed is a much different task than writing a complete, self - contained narrative.

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.

Surely there was a way to make this necessary divulging of information more palatable than literally doing nothing but having Thomas incredulously ask a bunch of questions and having a character simply explain the answers to him in vivid detail, but apparently Maze Runner's script didn't have the wherewithal to conjure anything up.