Sentences with phrase «screenplay gives»

Last year's WGA awards and subsequent Oscars for screenplay gives me PTSD to think about.

What's more, Antonio Macia's screenplay gives us food for thought.

Meanwhile, to provide a little variety, the screenplay gives Stallone a sidekick in the form of Taylor Kwon (Sung Kang), an out - of - his - jurisdiction cop whose character frequently makes no sense whatsoever, and a daughter, Lisa (Sarah Shahi), who has a nude scene to justify her inclusion in the movie.

Happily the screenplay gives him the best line in the film» We have about two weeks to avoid an all out civil war here.»

This screenplay gives viewers a backstage glimpse at the visionary man whose brilliance was sometimes eclipsed by his personal arrogance.

Marston and Julian Sheppard's screenplay gives Tom plenty of questions to ask Jenny; but the most interesting ones are on his face.

Zhao's screenplay gives Brady multiple reasons to return to the rodeo.

Co-written by Pegg and Wright, the films» sharp and hyper - imaginative direction and well - crafted, sincere screenplays gave us all hope that the ancient art of dramatic comedy was undead, at least.

In just one of multiple instances of the screenplay giving up, John Connor declares the heroes of this iteration an island in time, immune to time travel conundrums; later, when the evil operating system intent on taking over the world (why?

JT: You've said that John Ridley's screenplay gave you everything you needed in figuring out who Mistress Epps was.

Not exact matches

Van Dyke was director of the Friends Church media department when he wrote the screenplay, but his boss, Creative Arts Pastor Brent Martz (you met him earlier in this story) threatened to fire him if he didn't give him 50 % co-writer credit, the lawsuit said.

Given that Carl Sagan helped to write the screenplay, it's no surprise that it is well grounded in real ideas.

Steven Spielberg crafted his landmark Holocaust story Schindler's List to look like a documentary, using black - and - white film to give it a newsreel authenticity and employing Steven Zaillian's straight - forward screenplay as a template that consistently rejects melodrama and lets the barbarity speak for itself.

But once you get past that element of Kidd's screenplay (based on the novel by Helen Schulman), there's certainly a lot here worth embracing - particularly Linney's performance, which is incredibly strong (though not entirely surprising, given how effective she's been in films like You Can Count On Me and Mystic River).

Polished direction from Spielberg and an accomplished screenplay from Liz Hannah and Josh Singer combine with solid performances from the cast to give us a powerful true - life tale that is essential viewing if only to see the parallels with what is going on in the world today.

Pearce has also written a well - carpentered screenplay; there are some very big scenes and big moments here — sometimes too big — but he gives us a carefully crafted dramatic setup, an intriguingly curated selection of suspects for the crime and all of it building to a fascinating, finely balanced ambiguity in the movie's climactic stages.

Surprisingly limiting itself to a single passing prison - rape joke, the screenplay (written by Reynolds himself, Rhett Reese and Paul Wernick) starts to fill in the outlines of an actual moral arc here, as Randall looks to Deadpool as a surrogate father figure, while Deadpool rebuffs every opportunity to play the protector — at least until the arrival of Cable (Josh Brolin, finally giving this franchise an iron - sphinctered straight man), a bio-enhanced super-soldier from the future, who smashes his way into the Ice Box intent on killing Randall.

Pearce's screenplay and Buckley's performance give us a fully realized character, force us to confront her pain, and make us hope that there's some means of escape for her on the horizon.

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.

The screenplay by director Scott Cooper (Black Mass) doesn't give its protagonist an easy path to redemption.

Of course we have to thank the co-writer of the screenplay, and the director - both embodied by George Clooney, who also steps from behind the lens and gives a terrific performance as the «perfect» candidate... I heard that Clooney was also the caterer for the project!

It's hard to identify with characters who seem alien, and that problem is exacerbated by a screenplay that gives them nothing to do.

This moral dilemma, to publish or not to publish, was the backdrop of director Jon Amiel's entire film, and the tight screenplay by co-writer John Collee, one that gave credence to the fact that Darwin did struggle with his discoveries, however slanted they may have been.

Beyond his struggles with an unwieldy accent and the screenplay's hokum, Mr. Pitt gives a sincere if labored performance enhanced by a sense of genuine struggle.

The screenplay, by Eric Pearson, Craig Kyle, and Christopher Yost, gives each of the characters something worthwhile to do and something amusing to say, and when its various strands are tied together in time for the momentous finale, even the most superhero - wary viewers will have smiles on their faces.

Written by Etan Cohen (with creative input from David Koepp, Jeff Nathanson, and Michael Soccio), the screenplay for Men in Black III has some outdated jokes and slang which, given the film's premise, might've worked had they not been so distracting.

Peralta would only write the screenplay, and obviously he knows the history and characters well enough for us to give him the benefit of the doubt in terms of accuracy.

The group also gave best screenplay to the political satire «In the Loop.»

The delay will give Liman the chance to go and shoot a smaller movie named The Wall over at Amazon Studios, and work on Gambit is expected to begin towards the end of the year once Carolin has finished up on the latest version of the screenplay.

David O. Russell's adapted screenplay is hilarious but never makes light of mental illness, and though the cast is decidedly A-list, each of them gives a performance transcendent of genre or label.

In fact, the screenplay nomination lists were a chance to give a pat on the back to some more people who could have done with some more love: Shane Black for The Nice Guys and indeed Whit Stillman for his elegant work on Love & Friendship.

Amazon Studios has given a four - episode order to the untitled miniseries, created for television by Schindler's List writer Zaillian and adapted from a screenplay by the late Hollywood screenwriter Dalton Trumbo, reports variety.com.

Allen has written more produced screenplays than anyone else, and he knows how to move the story along, give us all the info we need yet craft a good mystery and reveal it as well.

Tucci and Howard A. Rodman, who wrote the screenplay, based it on Mitchell's two articles about Gould, but they discovered something unwritten in those articles that gave them the clue to this movie.

In a way, «The Spectacular Now,» based on the novel by Tim Tharp with a screenplay by» (500) Days of Summer» writers Scott Neustadter and Michael H. Weber, has given a maligned genre a shot of freshness and emotion.

Mills has written a wonderful screenplay and has given all five of his characters their own distinct voice.

It's hard to avoid wondering if the movie's uninspired but watchable proficiency is Harvey Weinstein - mandated, given the movie's troubled production history — O'Connor replaced director Lynne Ramsay, male leads rotated in and out of various parts, and eventual co-star Edgerton wound up helping to rewrite the screenplay — and the seemingly obligatory, unheralded theatrical release it's now receiving.

It's no secret we really like Moonlight — and, thankfully, the Academy did too, giving it eight nominations: Best Picture, Best Supporting Actor and Actress, Best Director, Best Adapted Screenplay, Best Cinematography, Best Editing and Best Score.

Like I mentioned above the Golden Globes make no distinction between the original and adapted screenplays, which gives us a list that is a mix of the two.

There's an old truism among Oscar observers that, in any given year, one can look at one of the winners of the Screenplay awards and spot the true best picture of the year, regardless of what the voters actually elected to the top spot.

The screenplay takes the piss out of everything, even as it gives Swinton and her mystical cohort Chiwitel Ejiofor a ton of arcane exposition to recite.

Instead, the screenplay by brothers Brian and Jim Kehoe also gives us another trio — three of the girls» over-attentive parents, who are convinced that their daughters are wrong for wanting to have sex on prom night.

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 final product is a disappointingly uneven effort that may be a cut above its teen - friendly brethren - the clever references to Halloween and Psycho are alone evidence of this - yet it's impossible not to have expected something more than just a passable time - waster given the caliber of Williamson's first screenplay.

The screenplay categories are where the Academy often gives an award to a multi-nominated film that isn't going to pick up one of the top prizes — see Alexander Payne.

The screenplay that is given to these actors gives them plenty of opportunities to show what they can do.

Above all is the extremely well - written Oscar - nominated screenplay by the same writers that gave us The Good, The Bad and The Ugly and Il Postino.

The screenplay by Mark Poirier gives him the best lines.

Ryan Engle's slack screenplay tries to build in further tension through a ludicrous conceit that gives the bad guys just 90 minutes to carry out their plan (hey, that's almost the exact length of this movie!)

Unfortunately for this screenplay, mandatory bad guy Mathias comes off as more of a bored henchman unworthy of any actual attention; is it fair to blame actor Walton Goggins for being given too little to work with?