Sentences with phrase «screenplay goes»

The screenplay goes on to turn this unfortunate talent into an especially bizarre bit of mixed messaging, employing Casey's trauma to obfuscate the reality of the meaning of Shyamalan's movie: that it has no meaning.

Once the war begins, though, the screenplay goes into a mode of simply recounting events.

More likely, screenplay goes with Picture and / or Director.

Josh Singer and Elizabeth Hannah's screenplay goes deep into the weeds not only of the paper's IPO but both Graham and Bradlee's chummy relationships with the major power players of mid-century America and the Vietnam War itself.

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.

Best supporting female and male went to I, Tonya's Alison Janney and Sam Rockwell for Three Billboards, while best screenplay went to Greta Gerwig for Ladybird.

Best Original Screenplay went to Taylor Sheridan for his recession crime thriller Hell or High Water.

Because of the odd nature of this year, it's conceivable that you might see a three - way split: Best Picture, director, and screenplay all going to different movies.

Best Screenplay went to «Moneyball», the story of Oakland A's general manager Billy Beane, written by Steven Zaillian and Aaron Sorkin, story by Stan Chervin, based on the non-fiction book by Michael Lewis.

(The screenplay went on to win Best Screenplay the festival.)

Although left out of the Academy Race, this year's Best Documentary Screenplay went to the well deserved STORIES WE TELL.

Best screenplay went to Jordan Peele for «Get Out.»

Best Adapted Screenplay went to Eric Heisserer for «Arrival.»

Polisse by French actress, writer and director, Maïwenn Le Besco, which snagged the Jury Prize while best screenplay went to Israeli filmmaker, Joseph Cedar, for Footnote.

BEST ADAPTED SCREENPLAY Gone Girl — Gillian Flynn The Imitation Game — Graham Moore < — alt Inherent Vice — Paul Thomas Anderson The Theory of Everything — Anthony McCarten Unbroken — Joel Coen & Ethan Coen, Richard LaGravenese, William Nicholson Wild — Nick Hornby

BEST ADAPTED SCREENPLAY Gone Girl — Gillian Flynn The Imitation Game — Graham Moore Inherent Vice — Paul Thomas Anderson The Theory of Everything — Anthony McCarten Unbroken — Joel Coen & Ethan Coen, Richard LaGravenese, William Nicholson Wild — Nick Hornby

Best Original Screenplay went to, surprisingly enough, Get Out.

Best Adapted Screenplay went to Call Me By Your Name.

Best screenplay went to Malcolm Campbell for What Richard Did, the story of a popular Irish teenager whose life is changed forever after a senseless act of violence.

Collectively, Birdman was the one most beloved, and that resulted in Picture / Director / Original Screenplay going its way, and thus the big crown for the year.

Just as with Metroid, John Woo was purportedly signed on to the film at a time when the screenplay went through numerous changes and re-writes.

Not exact matches

Bestselling novelists Suzanne Collins of The Hunger Games and Gillian Flynn's Gone Girl wrote their own screenplays.

Two Southern Baptist students insist that they would never go to see the movie because of how the screenplay may have distorted the New Testament portrayal of Jesus.

The best ensemble performance award went to Straight Outta Compton, which also won for best original screenplay.

«Where a staffer, either mid-level or top, goes on to be in very high elective office and has to work with a former boss — you could write a screenplay about it,» said someone close to both de Blasio and Cuomo.

The original screenplay called for an affirmative answer to this ultimate «how - far - can - science - go?»

There's little doubt that Real Steel's biggest problem is its excessively deliberate pace and unreasonably overlong running time, as filmmaker Shawn Levy, working from John Gatins» screenplay, has infused the movie with an incongruously epic sensibility that all - too - often threatens to negate its positive attributes - with the fairly pointless (and surprisingly unpleasant) robot - vs - bull brawl that opens the picture effectively setting a tone of regrettable sloppiness (ie Charlie goes through two robots before settling on his final fighter).

GOINGS - ON IN GOTHAM - BATMAN, directed by Tim Burton; screenplay by Sam Hamm and Warren Skaaren, story by Mr. Hamm, based on Batman characters created by Bob Kane and published by D.C. Comics; director of photography, Roger Pratt; edited by Ray Lovejoy; music by Danny Elfman; production design by Anton Furst; produced by Jon Peters and Peter Guber; released by Warner Brothers.

The Academy really didn't like Gone Girl much, as Gillian Flynn (who has been owning this category on the awards circuit) couldn't even get a screenplay nomination for adapting her own best - seller.

The negative of Jenny's movie goes missing, while Shane's apologies to her are finally noticed; Jenny dismisses Alice's aspiration to write a screenplay; Phyllis shares a secret with Bette; Kit and Helena open a new nightclub.

Despite one shocking revelation (if you don't know the play) and the handful of Wildean bon mots that make it into Howard Himelstein's screenplay (says Lord Darlington, «Marital bliss is a terrible burden to place on two people; sometimes a third person is needed to lighten the load»), «A Good Woman» goes nowhere handsomely.

It goes without saying, then, that the viewer begins to crave anything even resembling a plot development, and there's little doubt that the strong performances and well - developed characters are simply, to an increasingly palpable degree, unable to compensate for the aimlessness that's been hard - wired into Curval and Hiet's screenplay.

The screenplay (by «Sahara's» Thomas Dean Donnelly and Joshua Oppenheimer and former porn - flick writer Gregory Poirier) has numerous obstacles pop up to slow Sonia and Travis in their quest to go back in time and fix the future, mostly in the form of dangerous new animal species like the aforementioned monkeysauruses.

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.

After writing for The Wire and Boardwalk Empire and having three of his novels made into a trio of well - reviewed movies (Mystic River, Gone Baby Gone, Shutter Island), Dennis Lehane has finally written his first screenplay.

Resuming his movie career with 1962's Taras Bulba, Salt went on to win an Academy Award for his screenplay for 1969's Midnight Cowboy; nine years later, Salt, Robert C. Jones, and Nancy Dowd shared an Oscar for Coming Home (1978), his final film.

After the film ended and we realized how pointless it was, one of the «writers» went onstage and was interviewed about the experience of writing the screenplay.

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.

I thought Costner was going to try and make some better films, he'd better start reading the screenplays.

While his Samuel Goldwyn Award - winning student screenplay Pilma, Pilma went unproduced, Coppola's 1966 U.C.L.A. thesis project, a freewheeling comedy titled You're a Big Boy Now, was distributed theatrically by Warner Bros., and that same year he collaborated on the screenplays of the features Is Paris Burning?

The crew being stalked by a bear - like creature, whose wails sound uncannily like those of a disappeared crew member, manages to exquisitely generate tension from its surrealistic conceit, while the climactic twenty minutes in the lighthouse sees Garland attempt to explore the theme of consciousness (a conceit he's tackled in everything from his screenplay for Never Let Me Go, to his directorial debut Ex Machina) from a different perspective.

The story grows more convoluted as it goes; the screenplay (by Ehren Kruger) is not exactly the movie's strong point.

Unfortunately, it goes into silly decline quickly as the David Nichols» screenplay (based on his novel) loses ground quickly and all evaporates.

Director Jon Amiel — working from a screenplay by John Collee based on the book «Annie's Box» by Darwin descendant Randal Keynes — goes in for a lot of ethereal father - daughter flashbacks.

The film went on to win the inaugural Writers Guild of America best documentary screenplay award as well as garner an Academy Award nomination for best feature documentary.

Very Bad Things likely read better as a screenplay than it plays on film because the idea of what's going on is funnier than the actual execution.

Both films feature clever screenplays with smart characters, and go about their business with good humor.

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.

Disgrace... Its a superb film and in a sane world, lead actor, screenplay and cinematography noms, maybe picture would go to Wind river.Olsen though?

However, if you're expecting one of those gag - a-minute, crude and lewd fests, you're going to be disappointed, as the screenplay by Reno 911's Lennon and Garant (Night at the Museum, Herbie Fully Loaded) is going more for silly laughs than it is in gross - out gags.