Sentences with phrase «little better scripts»

Not exact matches

If you don't know what a Vulcan is, well, the script does probably start to fall apart a little.

To your last point, when I said choice is an illusion, I wasn't referring that it is impossible to make that choice, but rather that there is a «right» choice and a «wrong» choice, the «right» one being that you worship god, regardless of how weird some of the rituals might be, making you a little more than a robot, acting out a script your given, we're just slightly better because we can justify why we're acting out a command, but it takes years to understand that justification, in the beginning, you do these rituals because you're given a script and if you don't want to do it, tough.

There was relatively little writing in those days, not because the people did not know how to write, for a good many of them did, using the old Semitic alphabet script in Old Testament times and Greek in the New.

It's impossible to predict every little breakthrough (a hundred years ago, we'd never have envisioned painless dentistry, the designated hitter or Thighmaster), but we're expert enough (in sports, not so much medicine) to forecast that Vince McMahon's WWF will become the umbrella organization that regulates all major league sports (except for boxing, which will continue to be guided by good sense alone), and outcomes will be scripted to provide total fan satisfaction (read: fireworks, near - naked women on every sideline, no 8 - 8 playoff teams ever and especially no Yankees championships).

Kirk is excellent at running Jay's offence but I always feel that if he has to go off script he struggles a lot, he misses far too many wide open receivers and seems to be missing that little extra something that makes the difference between a very good player and one that is elite.

While this use of farce works well, particularly the chaotic triple - phone - line dance in the office when appeasing MPs on «defection - watch», the characterisation is a little thin, which dampens the script's sharpness.

The performances are good but the heavily cliched script ensures that there's very little of interest here, unless you're a massive stepping fan.

I don't know how thin these characters are, as they are rich historical figures and are very often very well - portrayed, but there is something lacking about the expository aspects of Philip Dunne's, Gina Kaus» and Albert Maltz's script, which pays little mind to secondary characters, and isn't even all that layered with the leads, who, to a lesser extent, join most all other characters in supplementing a sense of melodrama.

If you're like me and think 1D makes ears bleed, then the obviously - scripted terrible humor movie this claims to be (heh, calling it a movie as if its good... trust me its not) will throw constant amateur footage of concerts at you instead of giving any scenes with the group in and if so, it will just be dumb little skits.

But I'm honestly a little disappointed that this film played out the way it did, because it could've been, at the very least, a good movie, if not a great one, if more of an effort was put into putting together a stronger script with better character development.

It does get a little impressed with itself at times, and has about ten different endings before concluding on a ambiguous note, but overall it is still a good movie that deserves to be seen thanks to strong directing and an unpredictable script that keeps you guessing throughout.

Filmmaker James Foley, working from a script by Niall Leonard, delivers a blandly - attractive production that delivers everything one might've expected, admittedly, with the smattering of thriller - oriented elements compensating for a narrative that's occasionally just a little too lackadaisical for its own good.

Maybe if someone actually wrote the script with a little brain power it could have been better.

It doesn't consistently reach the heights of the absolute top tier dramas (The Soprano's, Breaking Bad etc) and relies on convenient plot devices a little too often but the well written script and excellent cast make for a powerful drama series.

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.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

But there's a lot of potential here, from Raimi's own stewardship of the project (as well as co-producer Bruce Campbell «s) to the selection of little - known Fede Alvarez making his directorial debut with a script polished by Diablo Cody.

The focus on epic battles involving arrows, swordplay and midair dogfights as well as scores of characters, allows little time for character or script development.

So the script's a little laboured, but for shere exuberance and adrenaline pumping you don't get better than this unless you're at a rave.

Over the course of a movie, we can learn a little bit about being a secret agent, a brain surgeon or a drummer — and the best scripts provide the right amount of information about that profession to impact the storytelling.

Though Chris Weitz's script adds some perfunctory intrigue in the form of a duplicitous Grand Duke (Stellan Skarsgård) who conspires with Lady Tremaine to keep the prince from being with his true love, Cinderella hits all its expected marks — midnight flight, lost slipper, kingdom - wide podiatric investigation — like the good little brand extension it is.

However, aside from this emotive dynamic the campaign does little to expand on the events of the main game, even though it parallels the original script well.

It was just a really good script and I really wanted it, so it was a little more excitement than I would have in any other audition.

With a terrific central performance by Chadwick Boseman (42), Get on Up has what it needs to give «Godfather of Soul» James Brown his due respect, but is hampered by a messy script and pedestrian direction from Tate Taylor (who did a little better in The Help).

A script peppered liberally with profanities and little else does not a good film make.

And so it's little surprise that Her turns out to be the better of the two movies, mostly by virtue of prominently featuring Chastain, who conveys an interior life — shifting emotions, competing desires — the script doesn't supply her.

I thought there would be a clever little twist or witty banter, but Dodge's script is amateurish at best.

Even if not all of its elements are entirely successful — the supporting cast didn't add a huge amount for me, beyond one scene in a cafe, and the script is tonally a little inconsistent — Stronger is nevertheless a well - acted double header and worth a look for Gyllenhaal and Maslany alone.

If the script falls flat, there's little chance that any actors other than Dench will get recognized and the top category (Best Picture) pretty much goes out the window.

We'd suspect he'd take the offer if the script was like, Paddy Chayefsky good, but du n no, right now this sounds a little thin.

While Kosinski didn't display much in the way of storytelling abilities on «Tron: Legacy,» this one has a decent cast, and a script by Oscar - winner William Monahan («The Departed «-RRB- and Karl Gajdusek («Trespass «-RRB-, which bodes a little better (especially with Michael Arndt doing the final polish).

In 2006, Little Miss Sunshine premiered at Sundance, sparked a major bidding war, made history when it was nabbed for $ 10.5 million from Fox Searchlight Pictures, and rode its charming script, lighthearted tone, and affecting performances to a boffo box office and a Best Picture nomination.

The script is well paced, offering its audience precious little opportunity to relent from the action and the performances (even though they're dubbed, as was the norm for Italian cinema back then) are naturalistic and believable.

Ford and Pfeiffer are excellent actors and while the script isn't up to their talents, they do the best they can with what little there is from veteran actor and first - time screenwriter Clark Gregg (Choke).

Director Jan de Bont, who gave us the enjoyable popcorn films Speed and Twister, does the best he can, sparing no expense or effort to make the film scary and thrilling, but the script and largely boring characters have so little development that the $ 80 million spent on the film has gone to waste.

There are also some good moments in the ponderous script that offer up food for thought, and had the twisty plot been a little less ambitious, Changing Lanes could have been a very good film.

There's little doubt, however, that Reiner's decidedly deliberate sensibilities, coupled with the episodic bent of Raynold Gideon and Bruce A. Evans» script, ensures that the movie's first half isn't quite as electrifying as one might've hoped, as it's clear that certain sequences ultimately fare a whole lot better than others - with the boys» efforts at safely crossing a railroad bridge certainly standing as a highlight within the film's opening hour.

Other releases from Newmarket Films Books include the Shooting Scripts for DreamGirls, The Good Shepard, Little Children and United 93 and Little Miss Sunshine.

Working from a sensational, intimately layered script written by Simon Beaufoy (Slumdog Millionaire, The Full Monty) and directed with dexterous skill by Little Miss Sunshine impresarios Jonathan Dayton and Valerie Faris, this empowering, exuberantly enthusiastic motion picture creates such a palpable sense of joy in the viewer it gives one hope things really will turn for the better sooner rather than later.

It is possible that once the film turns from out and out farce into more of a core relationship film that it might falter just a tad, but the script sets up their relationship so well and so unconventionally (it lovingly refuses to give in to the storybook ending), and Lemmon and MacLaine are so good at playing their parts that to me the momentum never falters (take, for example, the way MacLaine mimes the number three the same way Lemmon does after she sees him do it earlier; it's the little things).

It was a little bit of a surprise to wake up on January 23 to the news that Logan's script was nominated for an Academy Award for Best Adapted Screenplay.

Then again, an actual script could have done wonders, as well as a little sensibility when casting the film.

With a little more editing of the script and crisper direction of various scenes, this could have been the best of the film series.

There seems little doubt that a cast this experienced could have provided a better script simply by improvising its lines.

The movie would have worked so much better as a short, especially since the script does so little in the way of actual character development.

But since it's based on the most wildly popular book in the bunch, a book that every article will tell you was «unfilmable» before Ang Lee came along, Life of Pi seems to have safe chances here, even if such an assumption puts little faith in the writer's branch, who should know better than to reward David Magee's horridly bookended script.

He's also got a coming - of - age script called «Good Kids» that he's set to direct himself, and animation «Little White Lie,» which Jan Pinkava was set to make at «ParaNorman» backers Laika at one point.

I must say that this was one of the worst movies I've ever watched, «Evil Dead» was better than this mound of shit... Gareth Edwards should be banned from directing hence forth, and now I hear he's directing the new Star Wars spin - off... I'm not one to talk down to others but let's be honest, you have to be retarded to like this movie... It made absolutely no sense, the script (the most important piece to any movie) was terrible, the plot was stupid, the acting was horrible and it seemed that the actors who were chosen were acting for a different movie all together... Where was the sense of urgency, I mean there were 300 foot tall behemoths walking through buildings and all you could show us was who was going ride with the little boy on the school bus... Maybe if all the main characters died and they just let Godzilla do his thing from there on out an eyebrow could've been raised but unfortunately, there isn't one good thing to say about this movie... I'm shocked the WB handed over one their biggest names to Legendary Pictures... Let's not forget what they've done with Superman Returns... This is shameful...

Working from a script he co-wrote with Lawrence Kasdan (who also wrote the best film in the series, «The Empire Strikes Back») and «Toy Story 3» and «Little Miss Sunshine» writer Michael Arndt, Abrams beautifully combined the elements of the first three films that we loved so much with a fresh sense of purpose.

The script is a little stiff at times and the directing isn't always the best, but the decent acting and overall production value really make this a film worth watching for the right audience.