Sentences with phrase «of credited screenwriters»

In fact, the only factor about the screenplay that is remotely surprising is the presence of Mike White, the acclaimed writer of the likes of «School of Rock» and «Beatriz at Dinner,» as one of the credited screenwriters.

A pen in the eye, a neck - snapping fall from a pool table are the nature of the chain of less - than - imaginative demises dreamed up by a veritable platoon of credited screenwriters.

Discredit goes to the three waves of credited screenwriters — Jeff Pinkner, Oscar - winning wordsmith Akiva Goldsman and Oscar - nominated veteran Susannah Grant.

Akiva Goldsman is one of the credited screenwriters, and his usual penchant for over-explaining everything is here, but he and his fellow writers still can't make sense of the truncated plot or find reasons for any of this stuff.

The movie reunites Butler with Christian Gudegast, who was among the phalanx of credited screenwriters on London Has Fallen and now makes his directorial debut.

by Walter Chaw Madagascar 3: Europe's Most Wanted (hereafter Madagascar 3) is easily the best one yet and the product, I'll bet, of co-directors Eric Darnell and Tom McGrath's foray into the rigors of gag - writing for an animated TV series («The Penguins of Madagascar»)-- though I wouldn't discount the influence of credited screenwriter Noah Baumbach, either.

Not exact matches

Credit screenwriter Steve Kloves, who wrote every script but that of Order of the Phoenix, with judicious pruning and a knowledge of the epic's internal pressure points, and the technical crew headed by production designer Stuart Craig for visualizing the landscape of Hogwarts and beyond with such lavish, meticulous creativity.

When films are good, actors and directors get a lot of the credit that should go to the screenwriters.

Director Marc Forster and the three credited screenwriters — Matthew Michael Carnahan, Drew Goddard, and Damon Lindelof — should, of course, also gets kudos.

Apparently none of the four credited screenwriters could come up with much besides Pitt going here and running from zombies and there and running from zombies and somewhere else and running from zombies.

I've rarely heard of a director attributing full credit for a film's virtues to a screenwriter, but that's what Friedkin was doing.

Although the script is credited to screenwriters Jon Lucas and Scott Moore (the team behind the dismal Four Christmases and Ghosts of Girlfriends Past), The Hangover is consistent with the director's previous frat - boy comedy hits.

His final film credit was as a screenwriter for Disney's 1998 remake of The Parent Trap.

The screenplay by Rhett Reese, Paul Wernick, and Reynolds simultaneously want us to take this development seriously — giving us multiple scenes of Wade trying to reunite with Vanessa in the afterlife — and to laugh at it — giving us a James Bond - like credit sequence that calls the screenwriters «the real villains,» after offering a series of tongue - in - cheek statements of disbelief about what has transpired.

Having assembled a talented cast, and nabbing international star Mads Mikkelsen as his lead, Arcel, whose biggest credit is screenwriter of the original 2009 version of The Girl with the Dragon Tattoo, casts his name as a notable up and comer with this latest, an impeccable piece in its own right.

This haunting first feature by David Veloz, one of the screenwriters credited with «Natural Born Killers,» sees all the paradoxes in Jerry's situation, and all the rich potential for destruction.

For the first half hour or so, writer / director David Veloz (one of the screenwriters credited on Natural Born Killers) strains unsuccessfully to impress us with fashionable non-continuity edits and some clipped dialogue that aspires to be taken as sardonic humor.

These issues are probably ones that challenged Steve Conrad (The Pursuit of Happyness, The Weather Man), the lone credited screenwriter, and the many others before him who tried to update James Thurber's 1939 short story for modern times.

Screenwriter Lawrence Kasdan, whose Star Wars writing credits include many fans» favorite installment, The Empire Strikes Back, calls Han «the most exciting character» of them all.

Plot details are being kept under wraps, but the project comes by way of a pitch from screenwriters Thomas Lennon and Robert Ben Garant, whose credits include Night at the -LSB-...]

Tough stares and words await, very much of a piece with screenwriter Diablo Cody's earlier credits, especially her underrated comedy «Young Adult».

Even the screenwriters get blasted in most of the reviews posted online, similarly to TheWrap's film critic Andy Klein «s review, who said «the four credited screenwriters — the returning Creighton Rothenberger & Katrin Benedikt, plus Christian Gudegast («A Man Apart») and Chad St. John — make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer's mind.»

Like Iron Man's Tony Stark, Hal is meant to be a charming wit; unlike him, he has been provided no witty lines by the long list of (unwisely) credited screenwriters.

Though most of the cast returns, as well as the screenwriters of the first film, Rhett Reese and Paul Wernick, with Ryan Reynolds also snagging a writing credit, Deadpool 2 recruited David Leitch (one half of John Wick's directorial team) to replace Tim Miller, and the change works.

They discuss how much or how little the on - screen film credits can reflect the work a screenwriter actually does on a project, the complicated system of arbitration, and what it's like to both rewrite someone else's work and be rewritten yourself.

Paul Schrader is an American screenwriter and director whose writing credits include Taxi Driver, Raging Bull, The Last Temptation of Christ and directing credits include American Gigolo, Mishima, Light Sleeper, Affliction and First Reformed.

In return for participation in a Screenwriters Lab, fellows are obligated to sign an agreement stipulating that (a) they will make a contribution to Sundance Institute of 0.25 % of the portion of their film's final budget that exceeds $ 1,000,000 (this number may increase to 0.5 or 0.75 % through participation in a Directors Lab and / or Sundance - affiliated grant support exceeding $ 10,000), (b) Sundance Institute will receive 1 % of 100 % of the film's net receipts, and (c) Sundance Institute will receive a credit line and logo placement in the film's end titles.

Watts, who is also one of six credited screenwriters, does his part to ensure that this Spider - Man doesn't feel like a retread of either the Raimi / Tobey Maguire trilogy or the Marc Webb / Andrew Garfield pair.

Paul Schrader is an American screenwriter and director whose writing credits include Taxi Driver, Raging Bull, and The Last Temptation of Christ and whose directing credits include American Gigolo, Mishima, Light Sleeper, Affliction, and First Reformed.

Suffice to say that many of the original film's themes are echoed, and it's to the credit of screenwriters Hampton Fancher and Michael Green that they delve deeper into this world without giving concrete answers to mysteries that fans have argued about for decades.

To the credit of director Mike Newell (drawing on his Harry Potter and the Goblet of Fire wrangling skills), a conclave of screenwriters who keep the dialogue on the sharp side, and the life's - a-game instincts of producer Jerry Bruckheimer, all that Arabian Nights - like stuff unfolds at a brisk, well - paced clip.

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.

True, Letts (credited as screenwriter) and director John Wells (The Company Men) have gone to pointless lengths to «open up» the action, adding trips to town and lingering on shots of dusty Oklahoma roads.

At least part of the credit belongs to screenwriter Diablo Cody, who seems to have set out to write a greatest - hits Jonathan Demme movie — complete with full - length live musical numbers, kitsch décor, and a wedding — while taking another go at the basic premise of her script for Young Adult: the story of a nobody returning to nowhere.

And this is all the more satisfying because when you see a hefty team of screenwriters in the credits, in this case, Zack Stenz, Ashley Miller, Scott Alexander, and Larry Karaszweski, it usually doesn't bode well... Read More»

It should be noted that Cohen had been the screenwriter for the original film, though one wonders if he is merely credited for Aguirre - Sacasa's retool more so than in adding anything new of his own.

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.

Directed by Seth Rogen and Evan Goldberg, who also produce and share story credit with screenwriter Dan Sterling, the satire vowed to tell the story of two journalists recruited by the CIA to use an upcoming interview opportunity to assassinate North Korean dictator Kim Jong - un.

And some of that responsibility also falls to screenwriter Scott Derrickson, whose credits --» The Day The Earth Stood Still,» «Sinister «-- doesn't instill a lot of confidence.

Anna Boden and Ryan Fleck, the filmmakers behind Half Nelson and Mississippi Grind, are directing Captain Marvel, while the credited screenwriters include Meg LeFauve (Inside Out), Nicole Perlman (Guardians of the Galaxy), Geneva Robertson - Dworet (Tomb Raider), Liz Flahive & Carly Mensch (GLOW), and Boden and Fleck.

Along the way, we touch on the abandoned film project that Lee was working on with screenwriter Michael Arndt, how The Book Of Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael GiacchinOf Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchinof the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchino.

Screenwriter Mark Protosevich (The Cell, I Am Legend, Thor, Oldboy) joins the Hyphenates to talk the key films of May 2015, ask how accurate the writing credits on Hollywood productions actually are, and look at the extraordinary films of the underrated Japanese director Masaki Kobayashi.

Giving a great deal of credit to first - time screenwriter Jamie Linden, he does manage to find that silver lining by not concentrating on the game of football except as a means to heal wounds.

«With several credited screenwriters on the final product, director Nikolaj Arcel's movie looks and feels like a series of cautious, nervous compromises and expository panics... Is the movie good enough to do what it's designed to do?

Credit screenwriter Steve Barancik, who has written a multi-layered story so intricate it reminds me of Robert Towne's award - winning screenplay for «Chinatown.»

Credit not only Arteta, but screenwriter Phil Johnston for playing scenes out no longer than they needed to be and by not going for the easiest of laughs.

Executive Producers Steven Spielberg and Oprah Winfrey clearly understood the vision of director Lasse Hallstrom (whose impressive credits include «The Cider House Rules», «Chocolat» and «Salmon Fishing in the Yemen») and screenwriter Steven Knight (who's having a fantastic year with indie gem «Locke» and now this winner).

If anything, some of their individual problems could stand a little more attention; maybe additional details were elbowed out by the four credited screenwriters.

Credit for this achievement goes, as it should, to the directors of the films, the screenwriters, the craftspeople, and of course to J.K. Rowling herself.

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.