Sentences with phrase «screenplay credits for»

Ayer, whose career began at the start of the millennium with screenplay credits for U-571 and the original The Fast and the Furious, has evolved into a respected filmmaker as writer - director of End of Watch and Fury.

For his efforts, the filmmaker will receive a screenplay credit for the Warner Bros. feature.

Not exact matches

Credited to three writers, «The Fighter» was directed by David O. Russell, who reportedly rewrote the screenplay during filming, adding humor to a project originally planned for Darren Aronofsky («The Wrestler,» «Black Swan»), who isn't exactly known for his light touch.

At the same time, Cooper (who also wrote the screenplay) deserves credit for not providing much in the way of easy resolution and answers in Hostiles.

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.

One surprising element of The Interpreter is that it is good despite having three people credited with the screenplay, Charles Randolph (The Life of David Gale), Scott Frank (Minority Report, Flight of the Phoenix), and Steven Zaillian (Gangs of New York, Hannibal), and two with story credit, Martin Stellman (Tabloid, For Queen and Country) and Brian Ward (Tabloid).

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.

First, an almost flawless first time original screenplay by Aaron Guzikowski, whose only other writing credit was for his adaptation of the Icelandic film that became the Mark Wahlberg hit «Contraband.»

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).

As usual, while Leigh takes solo credit for the screenplay, the narrative results from the filmmaker and actors» extensive improvisation and rehearsal.

The film's credits do recognize Whedon for his contributions to the screenplay, along with writer Chris Terrio, who previously co-wrote «Batman v. Superman: Dawn of Justice.»

He does have one Oscar nomination to his credit, for co-writing the screenplay for The Royal Tenenbaums with Owen Wilson.

Alejandro G. Inarritu, nominated for best director, best screenplay (co-writing credit) and best film (co-producing) for Birdman, has been busy in the Canadian Rockies with The Revenant, a frontier thriller about real - life 19th century fur - trapper Hugh Glass.

(He also wrote the screenplay but it's not his first; he shared credit for last year's Keanu.)

Among his previous credits before becoming a director, Vizcarra wrote the screenplay for 2002's Django: La Otra Cara, a crime movie about a notorious bank robber which also doubled as an erotic thriller.

Clearly the animus against him for his sole credit of the screenplay, despite a complete re-write from director Ava DuVernay, is starting to come back to haunt him.

Thankfully, as his fortunes improve and Brown becomes more and more demanding, the screenplay from Jez and John - Henry Butterworth inserts some actual discussion of his songwriting and groove technique, giving the man credit for virtually inventing the funk.

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

And Philip Seymour Hoffman's Capote — the most impressive performance of the year in my book — works so integrally with the screenplay (Dan Futterman) and direction (Bennett Miller) that we ultimately have to credit all three for their moral indictment of Capote's careerism (not his writing per se) and how it helped to destroy him.

Alas, the third act was never cracked for cinema by Kubrick or Vladimir Nabakov (credited as the screenwriter, though Kubrick rewrote it so much that Nabakov's version was later released as a screenplay.

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.

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.

Think dating advice from He's Just Not That Into You in reverse, of which both screenplay writers of «Single,» Abby Kohn and Marc Silverstein, also have writing credit for the film.

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.»

Francis Coppola's (he dropped the «Ford» in the»80s) Life Without Zoe (34:19) is the film's insignificant weak link, although it is noteworthy for being the first writing credit of Coppola's daughter Sofia, who has since blossomed into an esteemed director herself and an original screenplay Oscar winner.

The screenplay, credited to Geneva Robertson - Dworet and Alastair Siddons, devises a series of puzzles for Lara to solve, though as the action intensifies, it's difficult to follow her reasoning, and the puzzles remain rather puzzling, if they were ever intended as anything more than plot devices.

The screenplay has credits for Stuart Beattie, Craig Brewer and Adam Cozad; adapted from Edgar Rice Burroughs» story.

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.

While a lot of credit for that belongs to director Michael Showalter and the screenplay by him and Laura Terruso (adapting her short film «Doris & the Intern»), there's no denying that a significant portion of the film's success belongs to Sally Field.

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.

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.

As first reported by TheWrap, Joe Robert Cole will write «Black Panther,» and while it's unclear whether Coogler will have an official screenplay credit, he'll likely work with Cole and Marvel executives to hone one cohesive vision for the film, which is an important entry in the Marvel Comic Universe.

There's a specificity to her character, for which the screenplay surely deserves partial credit, inasmuch as Carol juggles her home life with her attraction to Jay, all the while being drawn back into the world of prisoner - advocacy due to an altruistic love for the work.

You know he's a credited writer for the Best Screenplay nominated Toy Story, right?

Thompson's recent film credits include Pixar's Brave, Men in Black 3; and both Nanny McPhee and its sequel, Nanny McPhee Returns, for which she wrote the screenplays and starred in the title role.

A smart screenplay (by Linda Woolverton), a gifted voice cast (that, it must be noted, is free of the marquee names that now clutter animated feature credits), and superior animation work would have already made for a good film, but what makes Beauty so justly beloved is a generous helping of magic — namely the divine music by the legendary team of composer Alan Menken and the late, great lyricist Howard Ashman.

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.

Superficially, the plotline of Obsessed reads like a thinly - veiled remake of Fatal Attraction, as it features so many similarities to that classic thriller that the original's scriptwriter, James Dearden, deserves to share a credit for the screenplay.

Director / co-screenwriter James Mangold (Scott Frank and Michael Green share screenplay credit) has a special affinity for Wolverine, having directed Jackman in 2013's eponymous «The Wolverine.»

The studio has released updated credits for Justice League as part of its fall movie preview, revealing that Whedon will share screenplay credit with Chris Terrio (Batman v Superman: Dawn of Justice, Argo).

The screenplay by Tony Gilroy — whose previous writing credits include The Bourne Identity (2002) and its three successors — provides a strong foundation for the film, demonstrating a solid understanding of the undercover world.

It's been in development since 2009, a long time even for animation, and though LeFauve has sole screenplay credit, the fact that she shares story credit with four other writers — Sohn, Erik Benson, Kelsey Mann and Bob Peterson (who also has an original concept and development credit) points up how many cooks were involved in this tasty broth.

Sheridan's writing credits include last year's «Sicario,» for which he received a WGA nomination for Best Original Screenplay.

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.

William Nicholson (Shadowlands, Gladiator) gets credit for the screenplay along with Herbert Kretzmer, who transformed Boublil's original French lyrics into the now - familiar English ones.

MPAA Rating: R for strong violence including a sexual assault, pervasive language, some drug use and sexual content Cast: Justin Chon, Kevin Wu, Shuya Chang, Ray Liotta, Harry Shum Jr., Eugenia Yuan, Jin Auyeung Credits: Directed by Andrew Lau and Andrew Loo, screenplay by Michael Di Jiacomo, Andrew Loo.

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.