Sentences with phrase «of great screenplay»

The best documentaries have the same qualities as excellent narrative films: the equivalent of great screenplay, first - rate direction and cinematography, superior «characters,» and whatever it takes to emotionally engage viewers.

Because of the great screenplay and even better casting of complete unknowns, the film has a feel much more like «Stand By Me» or «Stranger Things» than the nightmare - ridden story most of us are familiar with.

Alfred Hitchcock's North by Northwest is one of his most entertaining movies, a perfect blend of espionage thrills and stylish wit, bolstered by one of the great screenplays, by Ernest Lehmann.

Several of her screenplays have appeared on Hollywood's Black List, an annual survey of the greatest screenplays that haven't yet been produced.

Dwayne Johnson is making his starring debut, Steven Brand (as Memnon) comes straight from a crop of failed TV shows, director Chuck Russell is just coming off of one of the worst movies in 2000 (Bless the Child), and a script that had been rewritten numerous times by hacks that haven't made very much in terms of great screenplays.

Not exact matches

Part of that likely has to do with the absence of many truly great movies this year, and the fact key contenders — like «The Shape of Water» (the pick by the directors and producers guilds) and «Get Out» (the WGA's original screenplay winner)-- come from genres that seldom receive top awards recognition.

During Lent, I've been rewatching the magnificent 1981 BBC production of Brideshead Revisited — the best TV adaption ever made of a great novel, in part because of the stunning cast but in larger part because Evelyn Waugh's book is the screenplay.

It has a great screenplay and it actually works with tons of horror film stereotypes which make it even better.

Boasting a strong cast, but an anemic screenplay, and an enthusiastic approach to lensing in the great outdoors, The Missing might not be one of the guy's very best movies, but he sure gets points in my book for trying something a little more... grown - up... this time around.

Great screenplay from Parker and Stone and a surprising amount of care in game design from Obsidian make this an experience that, while might not offering a challenge, surely achieves its primary goal.

The team managed to rejuvenate the screenplay, the graphics and the gameplay, thanks to a great variety of «tasty» additions.

He wrote multiple drafts of the screenplay, and chose New York specifically on the grounds that it was «a great place to lose him.

One of 2011's best movie with perfect screenplay, Great Cast and acting and good direction.

He is not demonized; in fact, the screenplay goes to great lengths to emphasize the tragedy of his genesis and how, were it not for the misguided actions of «good» people, he might never have become the man he became.

A majestic Mafia epic starring Brando as well as Al Pacino, James Caan, and Robert Duvall, The Godfather was declared an instant classic, and its stature only grew in the years following its initial appearance.Coppola's next move was to write the screenplay for the 1974 adaptation of The Great Gatsby.

Contributing to screenplays for the great Polish directors Andrzej Wajda (Danton) and Krzysztof Kieslowski (Three Colors), Holland has spent most of the past quarter - century making films in the West, including adaptations of Frances Hodgson Burnett's The Secret Garden and Henry James» Washington Square.

If the director and producers didn't decide to screw around with the screenplay and make it an «imaginary portrait» of the great photographer, this might have looked much differently.

I guess it speaks to a simpler time in film, where economy of writing wasn't of absolute importance and not every moment in the screenplay had to fulfill some greater mechanical purpose, but it stresses its point in an awfully longwinded way.

Ok, Stuck in Love can not be one of the best movies of this year, maybe has some mistakes, but the rest of the movies is really great, the development of the story is fantastic, and interesting, the cast does an excellent job, the screenplay has much cool moments.

«It was a really great process because the film, Either Way, the Icelandic film, served as a fantastic blueprint, and I really just spent a day dictating that movie into a screenplay and then spent another couple days flipping it around and expanding certain things, emotionally investing myself in some of these characters and some dialogue.

Edgar Wright is a great writer / director, having directed «Shaun of the Dead» and written screenplays for movies like «Ant - Man.»

Obviously such great acting results come from the experienced direction of David O. Russell, who received his first Academy Award nomination for Best Director and noms for Best Picture, Original Screenplay, and Editing.

Few filmmakers can pack a screenplay with more fascinating supporting characters than the Coens, and John Goodman's had the great fortune of playing many of them.

The Oscar - winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)-- a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown.

While he gets some great performances from his actors, he doesn't have much of a screenplay to work with.

Best Picture: (tie) «Gravity» and «Her» Best Director: Alfonso Cuaron, «Gravity» Runner up: Spike Jonze, «Her» Best Actor: Bruce Dern, «Nebraska» Runner up: Chiwetel Ejiofor, «12 Years a Slave» Best Actress: (tie) Cate Blanchett, «Blue Jasmine» and Adele Exarchopoulos, «Blue is the Warmest Color» Best Supporting Actor: (tie) Jared Leto, «Dallas Buyers Club,» James Franco, «Spring Breakers» Best Supporting Actress: Lupita Nyong» o, «12 Years a Slave» Runner up: June Squibb, «Nebraska» Best Foreign Language Film: «Blue Is the Warmest Color» Runner up: «The Great Beauty» Best Animation: «Ernest & Celestine» Runner up: «The Wind Rises» Best Documentary: «Stories We Tell» Runner up: «The Act of Killing» Best Screenplay: Richard Linklater, Ethan Hawke and Julie Delpy, «Before Midnight» Runner up: Spike Jonze, «Her» Best Cinematography: Emmanuel Lubezki, «Gravity» Runner up: Bruno Delbonnel, «Inside Llewyn Davis» Best Editing: Alfonso Cuaron and Mark Sanger, «Gravity» Runner up: Shane Carruth and David Lowery, «Upstream Color» Best Production Design: K.K. Barrett, «Her» Runner up: Jess Gonchor, «Inside Llewyn Davis» Best Music Score: T Bone Burnett, «Inside Llewyn Davis» Runner up: Arcade Fire and Owen Pallett, «Her» Douglas Edwards Independent / Experimental Film / Video Award: «Cabinets of Wonder: Films and a Performance by Charlotte Pryce»

Viewers would be forgiven for their hesitance to see another movie from the directors of the «Vacation» reboot, but John Francis Daley and Jonathan Goldstein, working from a pitch - perfect screenplay by Mark Perez («Accepted»), have crafted an ensemble comedy that lives up to its high - concept premise while giving a gang of talented actors — including the gifted Jason Bateman, so rarely employed to great effect on the big screen — fun characters and big, outrageous moments.

The screenplay of «Beetlejuice, «by Michael McDowell and Warren Skaaren, is so full of digressions, asides and great, undisguised hunks of exposition that there is no room for the development of smooth plot or individual personalities.

Directed with creative style by Anders Walter (with a screenplay by Joe Kelly, adapting his own comic book), I Kill Giants is a good - looking adventure fable that makes great use of the Northeastern coastal locations.

It is a movie of great adventure, infinite inventiveness, and a screenplay that will please anyone in the whole family.

The evolution of the movie «The Post» (2017)-- a story about The Washington Post's 1970s battles with government over its publication of classified information relating to the Vietnam War and Pentagon Papers — reportedly goes something like this: It was a screenplay authored by Jewish writers Liz Hannah and Josh Singer, who presented it to Jewish film producer Amy Pascal, who decided it would «be a great story to tell.»

Crafting the Ann Peacock screenplay, he shows the great battles of life are fought on some of the smallest of battlefields.

King wrote both the novella, Cycle of the Werewolf, and the much better named screenplay, but it's all completely ruined by awful special effects and either ham - fisted or lackluster performances by the likes of Gary Busey and the late Corey Haim, the kind of actors who were great in the right roles.

The screenplay by Nelson Gidding (The Haunting, Beyond the Poseidon Adventure) stays mostly faithful to its source material, which is laudable given the fact that it would have originally seemed to most writers to have been unfilmable without injecting a great deal of action.

Obviously, a book of this size isn't going to make it to the screen without some concessions, but I believe writers David Hayter and Alex Tse have made a lot of great choices in their screenplay.

Writer - director Stephen Gaghan picked up an Oscar two years previously for penning the Traffic screenplay, but if this is a more accurate representation of his talents then that award is starting to look like a whopping great miscalculation on the Academy's part.

It serves as evidence that he didn't write great screenplays to begin with, but worked his way up to them by many stages, of which «The January Man» must have been a very, very early one.

The Lodges» story has its roots in a screenplay that Joel and Ethan Coen wrote in 1986 — the same year, incidentally, that gave us David Lynch's «Blue Velvet,» the greatest dark - side - of - suburbia movie ever made.

Winning the five gold rings of Oscar - dom (best picture, best director, best actor, best actress, best screenplay) Anthony Hopkins» portrayal of the murderous Hannibal Lecter proves the worth of surrounding one of cinema's greatest thespians with a stellar supporting team.

Say what you will about the ridiculousness of the story, but the screenplay does a great job of matching up specific actors (and stuntmen) with complementary skills to maximize the «fun» factor.

In 2017, the HFPA had a chance to nominate a number of great directors, including Bigelow (Detroit), Dee Rees (Mudbound), Patty Jenkins (Wonder Woman) and, arguably the biggest snub of all, Greta Gerwig, who saw her Lady Bird screenplay and film get nominated... but not her work directing it.

«Say Anything» (1989) Having already had a hand in one great teen flick of the 1980s, Cameron Crowe managed to top «Fast Times At Ridgemont High» (which he wrote both the source material and screenplay for) with his directorial debut.

That said, the film went on to become a smash hit around the world, becoming the only the second of three films to date to win the top five Oscars (Best Picture, Best Actor, Best Actress, Best Director and Best Adapted Screenplay) and is regularly enshrined in lists of the greatest American films of all time.

With a screenplay by Dan Fogelman, «Crazy, Stupid, Love» remains the great summer surprise of the year.

To its credit, the screenplay ultimately finds a way around this decision and realigns the focus to the notion that are far greater concerns than the romantic feelings of these three characters.

While it is difficult to condense a long Victorian novel into a modern two - hour film with wide audience appeal, Vinterberg pulls it off brilliantly with the aid of a fine screenplay by David Nicholls («One Day») and a great performance by Carey Mulligan.

There are just a couple of issues with the screenplay that prevent Split from being truly great.

A strong sense of style, an observant screenplay, and the sort of performances that elevate standard fare into the realm of memorable buoy the picture over many of its rough patches and redundancies, but Lin needs to squeeze out his narrative with greater urgency and balance: long periods of high school drama and exposition separated by badly justified epiphanies undermine the picture's coherence and flow.

Well, actually, it's based on one line of that first screenplay where the rebellion leaders, with the Death Star's plans in tow, inform the pilots that a great many people sacrifice their lives to obtain these documents.

Steven Spielberg, who I think is unquestionably one of the greatest living filmmakers, has never had such limitations, and he takes Singer's follow - up screenplay The Post — co-written with Liz Hannah — and turns it into a rich, dynamic cinematic tapestry worthy of his best films.