Sentences with phrase «screenplay credit going»

Even with story and screenplay credit going to Singer, Daniel P. Harris (The Killing of Candice Klein, Urban Chaos Theory), Michael Dougherty (Season's Greetings), David Hayter (The Scorpion King, X-Men), Zak Penn (Behind Enemy Lines, Inspector Gadget), the story still feels like a shell of something else.

(Screenplay credit goes to Joel and Ethan Coen, whose trademark dark wit is nowhere to be found here, as well as Richard LaGravenese and William Nicholson.)

Not exact matches

Nobody goes to a movie like «Rampage» for the poetry, but truly this is a terrible screenplay, credited to four writers and tonally all over the place.

But much of the credit should go to Lawrence Lasker, Walter F. Parkes, and Walon Green, whose screenplay deftly links the boy's sexual and moral maturation with a similar development on the part of the computer, thus accomplishing the thematic goal of «humanizing» technology that all the video - game movies — and video games themselves — have been striving for.

The Blu - ray debut features all the supplements of that release: three commentary tracks (one by director Terry Gilliam, one by stars Johnny Depp and Benicio Del Toro, and one by producer Laila Nabulsi and author Hunter S. Thompson), deleted scenes with commentary by Gilliam, the 1978 BBC «Omnibus» documentary «Fear and Loathing on the Road to Hollywood» (with Hunter S. Thompson and artist Ralph Steadman), the ten - minute featurette «Hunter Goes to Hollywood,» an audio documentary on the controversy over the screenplay credit, a survey of the marketing campaign, selections from the correspondence between Johnny Depp and Hunter S. Thompson (read on camera by Depp), an excerpt from the 1996 audio CD «Fear and Loathing» starring Maury Chaykin, Jim Jarmusch, Harry Dean Stanton, and Glenne Headly, background notes on Oscar Zeta Acosta (the real life activist and attorney who inspired the character of Dr. Gonzo), and galleries of storyboards, stills, and Ralph Steadman art.

Her and Pally come off as natural artists and most of the credit for that goes to the screenplay.

The lion's share of the credit should rightfully go to Tom Tykwer, who not only directs in gorgeous fashion, he co-wrote the very ambitious screenplay adaptation and contributed to the gorgeous score, as he has done for all of his films.

Directed by Chris Columbus, the screenplay was written by Timothy Dowling whose past credits include Role Models and Just Go With It.

Director Harold Daniels is no visual stylist and there's a slackness to many of the scenes, but he comes to life in a nighttime murder scene that he transforms into a model of noir violence, an urban street fight in the dark of the empty city picked out in shards of light (credit likely goes to cinematographer Nicholas Musuraca, RKO's crime movie vet), and the screenplay co-written by Steve Fisher has a bite of irony in its twists.

It is apparent that Cianfrance, who shares screenplay credit with Brother Tied co-writer Joey Curtis and novice Cami Delavigne, is not simply trying to go against the grain.

Affleck's writing credits are best known with such films as GONE BABY GONE, THE TOWN, and his Oscar - winning screenplay for GOOD WILL HUNTING.

Some credit has to go to S. Craig Zahler's excellent screenplay, which gradually reveals a more complex character underneath Chicory's buffoonish surface, although Jenkins» ability to create such a genuine and sympathetic character from the page is what helps elevate Bone Tomahawk from a low - budget genre pic to a future cult classic.

Less positive was the ordeal of Natural Born Killers (1994), where the backlash was so severe Tarantino had his screenplay credit removed before the film went into production, solely based on the script revisions.

Much of the credit goes to Shyamalan's contorted screenplay and leading lady Anya Taylor - Joy, but James McAvoy's consistently unpredictable take on the «split personality» persona is a keystone performance.

Maybe Waititi looked at a pretty ridiculous screenplay (credited to Eric Pearson, Craig Kyle and Christopher Yost) and went about embracing that attitude, squeezing it into camp.

Give Breaking In this much credit: Once the action gets going, Ryan Engle's screenplay continuously finds ways to keep it going.

Credit goes to both Affleck and writer Chris Terrio (in addition to historical events, the screenplay was based on an article from «Wired» magazine by Joshuah Bearman) for applying such a delicate touch to the film.

The starkness of that division is evidence of a screenplay with six credited authors, expectations of a franchise that went astray when it abandoned Bryan Singer (as all potentially great franchises seem to abandon Bryan Singer, to their detriment), and a director who's capable of giving good genre (Kick - Ass) saddled with material that's at least fifty - percent garbage.

Dredd 3D is directed by Pete Travis, but the screenplay is credited to Alex Garland, well known in the sci - fi world as writer of the scripts 28 Days Later, Sunshine for Danny Boyle and Never Let Me Go.

He co-wrote the screenplay along with Gonzalo Maza, but credit also goes to Daniela Vega whom Lelio and Maza consulted for accurate representation.

All credit should go to playwright Tony Kushner's screenplay, based on Doris Kearns Goodwin's fascinating and engrossing book Team of Rivals.