They're too busy taking turns posturing, cracking bad one - liners and hamming it up, playing that
lazy screenwriter's favorite character — the «ex-Special Forces» soldier, this time turned animal loving primatologist, and friend to a sign - language speaking gorilla, George — and a government agent with a «Men in Black» suit accessorized with idiotic cowboy belt, boots, pearl - handled Colt and drawl.
So off he goes to Central Asia (the generic title for those countries whose names and borders and politics are always changing and for
lazy screenwriters who could care less) where Rollerball is centralized.
Not exact matches
My biggest hope is that Zombie either learns to become a better and less
lazy writer (by doing away with all things white trash and fleshing out the story and characters) or that he hires someone else to be the
screenwriter for his next project, whatever it happens to be.
It's fast - paced and full of gaudy action, yet it's thoroughly unsatisfying, largely because it's so
lazy: once Stallone (also the
screenwriter) and director George Pan Cosmatos have sketched out the standard genre archetypes, they leave it at that, not bothering to fill in the niceties of characterization, plausibility, motivation, and suspense.
Shamefully
lazy in almost every way, you'll find yourself laughing more at the obvious use of old stock Navy footage for the external shots than anything the
screenwriters are able to muster in this vapid script.
The plot climaxes with several characters dropping Ecstasy to reach an emotional catharsis, which is one of the
laziest shortcuts in the
screenwriter's handbook.