Sentences with phrase «screenplay credit on»

That Jackson would even want to take screenplay credit on a project that feels so off - the - cuff and uninspired is curious.

Not exact matches

Credits: Directed by James Foley, script by Niall Leonard (screenplay by), based on the E.L. James novel.

Written by Alex Ross Perry (who's maybe the last human being on Earth whose name you'd expect to see in the closing credits) and filled with all of the sincerity that he's left out of the savagely caustic screenplays he's written for himself, «Nostalgia» begins with an insurance agent named Daniel (John Ortiz) visiting Ronald, a curmudgeonly old hoarder played by Bruce Dern.

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.

Keep an eye on the screenplay category: Wilson died in 2005, but he'll be the only credited screenwriter, even though fellow playwright Tony Kushner has since worked on the screen adaptation.

Instead, it's based on an original screenplay by Charles Grayson (The Barbarian and the Geisha, 1958), The Woman on Pier 13, 1949) and Vincent B. Evans, a real - life bombardier on the Memphis Belle during WW2 whose only other screen credit was for Chain Lightning (1950).

The rowdy screenplay by Rhett Reese and Paul Wernick («The Real Villains» according to the opening credits) is full of viciously fun winks at countless pop culture references («Yentl» gets particular attention), but it's never funnier than when it turns on itself.

While Baum's writings are credited, the screenplay by Mitchell Kapner (The Whole Nine Yards) and David Lindsay - Abaire (Rabbit Hole, Rise of the Guardians) is largely its own original entity, one modeled as much on the Garland film as anything else.

Two years later, he shared a screenplay credit with Robert Towne on Sydney Pollack's The Yakuza.

As with most other WGBH releases there are no on - disc special features, which is a shame since the closing credits indicate the existence, on the PBS web site, of an interview with Emmy - winning classic adaptation specialist Andrew Davies, who wrote the screenplay here.

Leitch's first credited directorial effort is on «Atomic Blonde,» whose screenplay was written by Kurt Johnstad.

Lee, whose most recent credit includes the screenplay for A Beautiful Lie about crime novelist Patricia Highsmith, recently attended the Sundance Institute Screenwriters Intensive and spoke with us about her creative origins, inspiration culled from the Hong Kong New Wave, and how she hopes to balance the scales when it comes to women on screen.

His Hercules, based on Steve Moore's similarly titled comic book with a screenplay credited to Ryan Condal and Evan Spiliotopoulos, marks a novel approach to the character, spinning a tale about the truth behind the legend and letting this revisionist angle sink into every corner of the story.

Credits: Director (Christian Ditter) Writers (Screenplay by Abby Kohn & Marc Silverstein and Dana Fox, Screen story by Abby Kohn & Marc Silverstein, Based on the book How to be Single by Liz Tuccillo

Credits: Directed by Stephen Spielberg Screenplay by Melissa Mathison based on the book by Roald Dahl

The screenplay is credited to Chris Weitz (About a Boy, The Golden Compass, Cinderella) based on a story by John Knoll and Gary Whitta.

Jackson didn't wait as long as Lucas and his adaptations (on which he shares screenplay credit with three others) can't warrant the same story - fixated criticisms as Lucas» inventions.

Also, if the title itself doesn't give it away, then certainly the opening credits — which inform us that LeMarque is one of the movie's producers and that the screenplay is based on a book that he wrote (with Davin Seay) about his experience — do the rest of the job for us.

Snyder still gets solo director billing on Justice League, with the former Buffy creator sharing a screenplay credit with Chris Terrio, but the upbeat tone of the movie — snappy patter blending with action unburdened by subtext — is definitely Whedonesque.

The screenplay was the brainchild of Marc Norman but on Weinstein's suggestion, England's esteemed playwright Tom Stoppard was hired to do a rewrite, and they shared original screenplay credit.

Although del Toro didn't return to direct the sequel, he is credited with creating the story on which it's based, with the screenplay being written by DeKnight along with Emily Carmichael (Lumberjanes), Kira Snyder (The Handmaid's Tale), and T.S. Nowlin (The Maze Runner).

Plus, he's producing Peter Bogdanovich's Squirrel to the Nuts and is somewhat ridiculously credited on the screenplay for Brett Ratner's Tower Heist.

But it's to the credit of director Jason Reitman — who co-wrote the screenplay with Sheldon Turner based on the 2001 Walter Kirn novel — that the movie for the most part scrupulously avoids sentimentality.

This B - movie trope seems unworthy of director Ridley Scott, who is working from a screenplay credited to the prolific John Logan and Dante Harper, based on a story by Jack Paglen and Michael Green.

Ryan Reynolds shares screenplay credit this time around, but apparently no ideas were discarded on the path from script to screen.

Maria Bello deserves major credit for taking on such a daring role, even if the screenplay forces her character to over dramatize for much of the second half of the film.

The next one up is Transformers 5, due out sometime in 2017, with over 8 different writers credited on the screenplay so far including Zak Penn, Jeff Pinkner and Akiva Goldsman.

Hooper asks incredulously after he's told that a band called Shithead recorded the ending theme), but also «credit» Hooper with insisting on changes to their screenplay that stick out like a sore thumb, such as the elimination of a passage of time between the prologue and our introduction to the Barrows that more or less imposes an awkward real - time gimmick on the proceedings.

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.

Taking over directing duties from Christopher McQuarrie and also sharing screenplay credit, Edward Zwick (The Last Samurai, Blood Diamond) does little to revive a résumé that has been on a downslide for some time.

This is Kazan's first screenplay credit, but we have no reservations on the quality of her work: her Off - Broadway play «We Live Here» unfortunately drew comparisons to the often histrionic and extravagant «Rachel Getting Married» for sharing a similar plot, but the former was actually a much stronger and subtler work without all of the miserablist Oscar - beggar mayhem.

Although Suzanne Collins, the author of the novels on which the franchise is based, has a screenplay credit in the first of the four films (along with two male co-writers) all four films were directed by men.

Alexander Payne (The Descendants, Paris I Love You) directs a decade - old Bob Nelson («The Eyes of Nye») screenplay, which marks his first time not receiving a writer credit on a film he directed.

Although McCoy has not yet been credited on a feature release, three of his scripts have appeared on Black List, the annual index of the top unproduced screenplays.

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.

After Memento and its follow - up, Insomnia (the only one of his films on which he does not have a screenplay credit), he changed the way many people thought about superhero films with his Dark Knight trilogy (Batman Begins, The Dark Knight, and The Dark Knight Rises), punctuated by a few mind - bending films with original screenplays (The Prestige and Inception).

Starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgård, Idris Elba, Christopher Eccleston, Adewale Akinnuoye - Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano and Jaimie Alexander with Rene Russo and Anthony Hopkins as Odin, «Thor: The Dark World» is directed by Alan Taylor, produced by Kevin Feige, from a story by Don Payne (credit not final) and screenplay by Christopher Yost and Christopher Markus & Stephen McFeely (credit not final) and is based on Marvel's classic Super Hero Thor, who first appeared in the comic book «Journey into Mystery» # 83 in August, 1962.

But on the basis of this film and his prior feature screenplay credit, his shaky 1997 debut Star Maps, writing isn't his strong suit.

His screenplay credit may refer to little more than an outline of character and scene descriptions, because in just about every scene, actors look like they're coming up with dialogue on the spot.

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.

Krasinski — sharing screenplay credits with Bryan Woods and Scott Beck — piles on diabolical bits of ominous foreshadowing, especially a nail that pops up on the staircase, as Marco Beltrami's sinister score tightens the screws.

Even Steve Buscemi, Olivia Wilde, Alan Arkin and James Gandolfini (in one of his final film roles) get in on the laughs, and that's mostly to the credit of Jonathan M. Goldstein and John Francis Daly's amusing screenplay.

Ant - Man and the Wasp has 5 screenplay credits, Community and The Lego Batman Movie writers Erik Sommers and Chris McKenna, Gabriel Ferrari and Andrew Barrer who were production writers on the first film - and Paul Rudd himself.

With a screenplay credited to Bryan Woods, Scott Beck and Krasinski, the film follows one family — portrayed by Krasinski, his real - life wife, Emily Blunt, and young performers Noah Jupe and Millicent Simmonds — living on a remote farm as they attempt to defend themselves against mysterious creatures that have overtaken the land and who track and attack their prey based on sound.

As on that film, Granik receives a screenplay credit here, alongside producer Anne Rosellini.

A two - time Oscar winner for adapted screenplay, Payne has turned for the first time to a script he does not have a writing credit on, an original by Bob Nelson, who began his career as a comedy writer before turning his attention to Woodrow T. Grant, Woody to his friends, a man on a mission.

If the word «adapted» is tripping you up, the CliffsNotes explanation is that the Academy's nutso rules decree that established franchises, whose subsequent installments have such credits as «based on characters created by Richard Linklater and Kim Krizan,» become ineligible for Original Screenplay honors.

A successful Wahlberg action programmer from yesteryear, F. Gary Gray's hit 2003 take on The Italian Job, gets a Bollywood makeover (completely authorized and official at that; that earlier film and its screenplay gets its due screen credit here) with Players, and famed «director duo» Abbas - Mustan do deserve some due for attempting a balance between faithfulness to the source film (hello, Mini Coopers!)

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