Sentences with phrase «dramatic license with»

He takes extreme dramatic license with two extended soliloquies: Donald Sutherland as «X» (Fletcher Prouty) and Kevin Costner as Garrison in the courtroom.

The film takes dramatic license with the truth and cushions the anguish with over-emoting melodramatic music, yet the acting is deeply felt and the redemptive message of Lomax's memoir is intact.

Of course, Berg took a lot of dramatic license with said character, and the real Don Billingsley sets the record straight regarding his father's bullying in the best and last featurette, Jim Bacon's «The Story of the 1988 Permian Panthers» (24 mins.).

Based on a Korean graphic novel series by Hyung Min - woo, the film has taken dramatic license with its source material, changing the baddies from fallen angels to vampires.

Affleck's film takes dramatic license with the events to focus predominantly on the CIA's involvement, in particular the work done by disguise and extraction expert Tony Mendez, whom Affleck also portrays.

The idea is that, should the mood strike, a performer may add a beat mid-bar as though choked - up with emotion, their dramatic license with the material thus extended liberally and their performance, we are told, made immeasurably better and more real.

Of course, this is the type of fact - based film that probably would have benefited from taking more dramatic license with the material, because some of the sensational events that occur (including one character's supposed death) are presented so matter - of - factly that it sucks the fun out of the movie.

Not exact matches

With allowances for dramatic license, you take his point.

While some dramatic license has been taken with the facts (the role of The Times has been downplayed and that of The Post boosted), the crux of the story remains — that for a democracy to not just survive but thrive, a free and robust press is essential.

But, in all fairness, the first is simply a matter of dramatic license, which any film would and does undertake when confronted with adapting real life, or even a novel, to the screen.

There are some liberties taken with the stories, partly because it's distilling four Gospels into one narrative but also partly because dramatic license needs to be taken to make a miniseries work.

Written originally for the stage, Frost / Nixon is the true story - albeit with dramatic license - of Richard Nixon's first interview after resigning from the Oval Office in disgrace because of Watergate.

I admire Anthony Hopkins and Helen Mirren as actors, but there were dramatic licenses taken in the film which I didn't agree with.

That is what you expect because you've seen too many of those historical films with frank and cloying melodrama, artificial conflict, and steep dramatic license.

Liman and his screenwriter, Gary Spinelli (Chaos Walking, Stash House), apparently play fast and loose with the facts of Seal's life («dramatic license» in case you're wondering), but hew relatively close to the general contours and parameters of that same life, following Seal as he settles in Mena, Arkansas at the behest of his careerist handler, expands his drug - smuggling business with Schafer's willful ignorance as an ally, and turns a massive property (also bestowed by a generous federal government) into a training ground for the Contra rebels who fought against the Communist - allied Sandinista regime in Nicaragua in the «80s.

Bennett Miller, who has excelled in delivering quality, Best Picture - nominated biopics in the past with Moneyball and Capote, even if they utilized a liberal amount of dramatic license, gives us yet another solid effort, though I do believe it is still a step down in a couple of key areas from those works.

Inspired by Krystyna Chiger's memoir «The Girl in the Green Sweater» with references to Martin Gilbert's «The Righteous» and Robert Marshall's «In the Sewers of Lvov,» Canadian screenwriter David F. Shamoon takes dramatic license to fictionalize Socha's inner turmoil.

In an Oscar - nominated performance, Watts is superb as Maria, and it's a shame her ailing character is largely confined to the sidelines during the less impressive second half, a stretch that culminates with a series of dramatic - license coincidences so laughable, they belong in a vintage screwball comedy instead.

The real Jada Pinkett was the first but probably won't be the last person portrayed in the film to take issue with its dramatic license.

Starring Keisha Castle - Hughes as Mary and Oscar Isaac as Joseph, the production includes everything you would expect in a film bearing this title and, even with some dramatic license, should please most Christian audiences.

Film rights are sometimes licensed together with television and stage rights, in which case the bundle is known collectively as dramatic rights.