Sentences with phrase «far as the script»

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

I haven't read any of the books in author Jeff VanderMeer's award - winning «Southern Reach Trilogy,» of which Annihilation is the first installment, but from what I understand writer / director Alex Garland (Ex Machina) has reworked the material considerably as far as the script for his feature adaptation is concerned.

Not exact matches

«As far as the market is concerned, you couldn't have scripted it any better,» said JJ Kinahan, chief market strategist at TD AmeritradAs far as the market is concerned, you couldn't have scripted it any better,» said JJ Kinahan, chief market strategist at TD Ameritradas the market is concerned, you couldn't have scripted it any better,» said JJ Kinahan, chief market strategist at TD Ameritrade.

The two companies are also said to be talking about developing scripted TV - style shows as well, although those talks are not as far along.

Scolars who went back (as far as they can) to original scripts, much of it in Greek, found that to be erronous, and made a more literal translation of the Bible where the word «hell» no longer appears.

It extended as far north as the Slavic world and created its own Greco - Roman world that distinguished itself from the Latin Europe of the West by introducing variants in the liturgy and in the ecclesiastical constitution, adopting a different script, and renouncing the use of Latin as the common language.

The hand - scripted logo was crafted by Jay Schwartz, founder and Chief Creative Officer of IdeaWork, as were the accompanying rose illustrations, a further homage to the namesake.

But it's also far from a satisfying work as a whole, with a number of crippling script issues that no third - act rewrite could have saved and an uneven tone that prevents it from becoming the definitive zombie picture it hopes to become.

This cinematically juvenile approach wouldn't be such a problem if Megamind didn't also have much in common with the aforementioned Despicable Me (which emerged earlier this year as a startlingly original property); but since I'm feeling rather generous today, not even those similarities would necessarily damn Megamind either but for the fact that Despicable did it all — visuals, voicing, and script — far better in terms of the super-villain turned antihero.

When the game is through, highlights in the script, acting and charm behind slightly intriguing subject matter are enough to bring the final product to the brink of decency, but this effort is far from that threshold, as underdeveloped, unlikable characters, aimlessly unfocused dragging and a cold directorial atmosphere behind a paper - thin story concept leave «Zero Charisma» to slip into mediocrity as a forgettable, under - inspired misfire.

Portraying standard heroines in such films as Edison the Man (1940) and My Friend Flicka (1943), Johnson brought far more warmth and humanity to the parts than the scripts provided.

Getting his start working on TV commercials, Mann took his rapid - paced, flash - cut approach into documentary filmmaking, producing an award - winning short on the 1968 French student riots, Janpuri.Mann's fragmented - image technique further manifested itself on such TV detective series of the»70s such as Starsky and Hutch and Vegas, both of which utilized his scripts (though they were directed by others in the standard conventional style of the period).

Later in the week, THR published further information on the split, which had Hunnam seeking script approval after submitting copious notes on Kelly Marcel's script as well as reports that Hunnam was to receive a mere $ 125,000 for his work.

As far as I'm concerned, when JJ [Abrams] sat us down to go through the script, it was a bromance... But now I'm learning what Mark Hamill said before when he didn't know that Darth Vader was Luke's father: you never know what they're going to pulAs far as I'm concerned, when JJ [Abrams] sat us down to go through the script, it was a bromance... But now I'm learning what Mark Hamill said before when he didn't know that Darth Vader was Luke's father: you never know what they're going to pulas I'm concerned, when JJ [Abrams] sat us down to go through the script, it was a bromance... But now I'm learning what Mark Hamill said before when he didn't know that Darth Vader was Luke's father: you never know what they're going to pull.

In development as far back as 1988 by «House On Haunted Hill» director William Malone, the film circled development hell at MGM for a decade, with «Romper Stomper» director Geoffrey Wright briefly attached, before Hill eventually stepped in, rewriting the script (without apparently knowing that his studio bosses were happier with the previous version).

Morgan's script services the story very well, keeping things tight and swift as far as the main story goes.

The script has some creative perks, including inserts of satiric humor amidst this outrageously absurd situation (though the film as a whole is far from campy enough to enjoy on that level).

While the script does present a realistic take on the chaos of life with little ones as far as this writer can tell (full disclosure: I am nobody's mother), it still conforms to the tired comedy mandate that at least a half - dozen contemporary pop - culture references must be inserted into the average feature - length script.

Though the script comes across as being a little too busy at times — a likely consequence of Anderson forgoing his customary writing partner and the added discipline that comes with one — he makes up for that lack of focus with the pitch - perfect casting of Ralph Fiennes as Gustave H., by far one of the most memorable characters that Anderson has ever created.

Boal's script is exceedingly well balanced as far as action, dialogue, details and emotion are concerned.

But WB obviously believes this project has life without Darcy - Smith as well, since he's considerably farther down the totem than Peters, who brought the script to the studio's attention.

Simon Pegg and Nick Frost have never been better as childhood best friends who have grown far apart, and the script provides Wright with his most snappy dialogue and clever structure yet.

Carrell and Fey have terrific chemistry and the script allows us to see their intelligence, wit and charm develop as they are pushed further and further onto kinds of preposterous situations that a good screwball comedy demands.

Though far more scripted, it's still an experience driven by exploration, and as usual, delivers big on scale and spectacle, pushing its host hardware beyond expectations.

So far, the «real» aspect of the movie only extends to the way it will be filmed, which is probably why the script still contains such far - fetched elements as enough free WiFi access to allow the reporter to upload her videos with relative ease.

Indeed, seeing how director Alan Taylor (Thor: The Dark World) is the one calling the shots on Terminator: Genesis - drawing from a script written by screenwriter / producer Laeta Kalogridis (Avatar, Shutter Island) and writer / director Patrick Lussier (Dracula 2000, Drive Angry)- it's difficult to gauge just how this film is shaping up, as far as its artistic quality goes.

As Em, Stewart plays the role of the cool girl crush, and the script's depiction of Em offers far more autonomy.

That's as far as Simon Beaufoy and William Nicholson's script goes.

As far as films go, the script and direction by Richard LaGravenese (Paris I Love You, Living Out Loud) aren't going to set the cinematic world on fire, as he imbues his tale with ample amounts of artistic license in order to get his overall message acrosAs far as films go, the script and direction by Richard LaGravenese (Paris I Love You, Living Out Loud) aren't going to set the cinematic world on fire, as he imbues his tale with ample amounts of artistic license in order to get his overall message acrosas films go, the script and direction by Richard LaGravenese (Paris I Love You, Living Out Loud) aren't going to set the cinematic world on fire, as he imbues his tale with ample amounts of artistic license in order to get his overall message acrosas he imbues his tale with ample amounts of artistic license in order to get his overall message across.

Robert Pattinson is clearly relishing putting the Twilight franchise ever further in his career's rear - view mirror, but even when you think his Jerome is just about the only vaguely moral person in this film's twisted universe there comes a twist which throws you completely off, as the script essentially points out that Hollywood is a corrupt and corrupting place where no real human values apply.

As far as I can tell, EA took one look at the script and asked why none of the classic series characters are in it, because pretty much every sequence involving Iden and her Inferno Squadron transitions right into elongated sequences throwing the player into the shoes of a not well imitated version of a classAs far as I can tell, EA took one look at the script and asked why none of the classic series characters are in it, because pretty much every sequence involving Iden and her Inferno Squadron transitions right into elongated sequences throwing the player into the shoes of a not well imitated version of a classas I can tell, EA took one look at the script and asked why none of the classic series characters are in it, because pretty much every sequence involving Iden and her Inferno Squadron transitions right into elongated sequences throwing the player into the shoes of a not well imitated version of a classic

Paul Thomas Anderson for teaching me that it's ALL about the script and if you have the right actors directors don't have to do anything on set but be a fan, Lumet for his films and his book, a young directors» must read, Coppola for his courage in filmmaking, Steven Soderberg for refusing to ever be put in a box and pushing the form as far as he can, Kathryn Bigelow for giving masterclasses in action, James Cameron for Terminator 2 and prove big budget cinema can still be perfect cinema, Sean Penn for bringing his acting chops to directing, David Mamet for his scripts and his dialogue, Nolan for having more heart than most people seem to give him credit for (Memento, Rises, Inception and Interstellar all made me cry.)

As a movie - based LEGO game, LEGO Marvel's Avengers doesn't go far off script.

Earlier drafts of Webb's script allegedly created a equilibrium between King and Johnson, even going as far as viewing many of the events through the latter's eyes.

And at one point, there was at least some movement on a film, with Guardians of the Galaxy co-writer Nicole Perlman produced a script treatment for a potential Black Widow project as far back as 2010.

A mess of a film this one.Plot lines confused and blurred.It seems to have been made up as they filmed.All the American cliques are there.Ugly brutal men in a one horse town, yet the place is full of emotionally wounded gorgeous women.The men are macho and the women inconsequential.The acting is rather uneven, veering from impressive, going down to Benny Hill.This is Cages best role thus far, but his normal low standards means his acting is still below par.The plots descends into a quagmire of nuttiness and by the end is daft romantic nonsense.A tighter script was needed, the director needed to be replaced to stop the film's plot wandering off in all directions and finally someone with greater gravitas was needed to take on Nicholas Cage's part...

Olivia Munn is better than usual, but not as great as she is on HBO's «The Newsroom,» while the rest of the cast fails to do much with a script that goes for the easy joke far too often.

The script — written by approximately 300 people, as far as I can tell from the IMDb entry — is razor - sharp, and its ability to impart a heap of information about a lot of people in record time is impressive.

With a warm, clever script by William Goldman, the movie follows Butch and Sundance as they seek adventure farther and farther south.

But isn't he only flying it in so far as Ruby Sparks is flying it — reading from someone else's script, responsible to them for their creation?

The Blue Tooth Virgin, the movie, is ostensibly far more delightful than the fictional script penned by Sam and denounced by David as a horrible nightmare.

The script isn't that far off from a horror movie, as the exhausting interrogation scene builds to an incomparable boiling point.

Turns out being a good director with a good script is far better than whether or not Butt Plug Man has the right dildo attached to his forehead, or if they used the same origin story for Captain Fuck - all as they did in issue # 12 of the Dan * makes a fart noise * comic run.

As a result, the film has an improvisational, spontaneous feel - greatly assisted by some fantastic performances - but Rafelson takes things too far towards the end, eventually abandoning the more effective elements in his script (ie the three central characters).

The film's script, as far as dialogue goes (because it does have better plotted sequences), is awful.

Lambert Wilson adds a droll note to the proceedings as Liam's co-conspirator and art dealer, and the script provides a few good laughs along the way, but the humor is broad at best, often settling for goofy when biting would have been far more satisfying.

The design of the interior of the house is the best aspect of the movie, belonging in far better material that the script that serves it here, but as you sit there saying a line an instant before a character does and waiting for LaPaglia or Otto to show up (and show some life) you just can't get past the flaws.

As Durst's participation came into doubt, Fincher then became the director, even going as far as having sets built, doing extensive pre-visualizations for the feature and hiring Roger Avary to rewrite the scripAs Durst's participation came into doubt, Fincher then became the director, even going as far as having sets built, doing extensive pre-visualizations for the feature and hiring Roger Avary to rewrite the scripas far as having sets built, doing extensive pre-visualizations for the feature and hiring Roger Avary to rewrite the scripas having sets built, doing extensive pre-visualizations for the feature and hiring Roger Avary to rewrite the script.

It's clear, then, that the script's sitcom - level approach to the subject matter fares much better than one might've anticipated, although there's no denying that, at a ludicrously overlong running time of 110 minutes, How to Be Single does peter out to an increasingly palpable degree as it progresses - with, especially, the movie's final third relying far too heavily on hackneyed sequences that are either egregiously padded - out or completely needless (eg a character frantically races to the hospital).

As Jack learns of her deception, the recalibration of their relationship is somewhat accelerated to fit the script's all - in - a-night structure, with many further hurdles along the way.