Not exact matches
But it's when the devilish old Carrey materializes that the movie —
which Mark Waters directed and is
credited to three
screenwriters — dares to be more than a greeting card.
The movie,
which has five
credited screenwriters, gets the mayhem right, but never quite nails that timing.
Tough stares and words await, very much of a piece with
screenwriter Diablo Cody's earlier
credits, especially the underrated Young Adult, to
which this feels a similarly arrested cousin.
That it still manages to be entertaining despite looking, sounding and feeling exactly like the original film is to the great
credit of director Danny Boyle, with slightly less
credit to
screenwriter John Hodge for reasons
which will soon become apparent.
A screenplay, adapted or original,
which has four or more
credited screenwriters.
Screenwriters Rhett Reese and Paul Wernick have great writing
credits to their name with Deadpool and Zombieland,
which surprises me due to the basic nature of this film in comparison.
Although even here Howard and his
screenwriters (only the father - son teams of Lawrence and Jake Kasdan are
credited) can't resist making a call back all the way to a line in the original Star Wars, one
which in a short sentence («We don't serve their kind here.»)
It's a shame that, however much better conceived «Battle of the Sexes» feels than Dayton and Faris» two earlier features (
credit for
which must go in part to «Slumdog Millionaire»
screenwriter Simon Beaufoy), the transitions between the two rivals» storylines are never elegant (blame for
which must also go partly to Beaufoy).
Forster doesn't get a lot of help with the plot,
which constantly shifts tones and lacks cohesion due in no small part to the film's massive rewrites — four
screenwriters (including Damon Lindelof, who botched last year's underwhelming Prometheus) are
credited and you get a sense of the confusion.
As for
screenwriter Whitta, his movie
credits are After Earth and The Book of Eli,
which is... not exactly promising.
Screenwriters David Feeney and John Quaintance mostly have TV
credits to their names,
which begins to explain why Hot Pursuit is so episodic and pitched at sitcom level.
And she didn't even pen this one —
credit there goes to first - time
screenwriter Andrea Seigel —
which may explain why it almost never feels like a movie from the woman who built a winning comedy around a game of sexual chicken between two straight friends.
His satirical - absurdist sensibilities are abundantly visible on You Don't Mess With The Zohan, where he's one of three
credited screenwriters, and gloriously glimpsed in the «Dunkaccino» scene of Jack And Jill, a bad movie for
which he is not a
credited screenwriter, but does receive a songwriting
credit on the fake Al Pacino - starring Dunkin' Donuts ad that is one of the movie's few flashes of demented inspiration.
Screenwriter Aaron Guzikowski deserves equal
credit for the film's intricately - plotted script
which oh so slowly ratchets - up the tension in a compelling fashion guaranteed to keep you on the edge of your seat every step of the way.
Mark Mills is a novelist and
screenwriter whose
credits include the screenplay for The Reckoning,
which he adapted from Barry Unsworth's novel Morality Play.