Sentences with phrase «screenplay helps»

All in all, The Maze Runner is a film whose exceptional adapted screenplay helps to overcome the lapses in other areas.

We learn that the storyboards helped to inform the screenplay and the screenplay helped to inform the storyboards, indicating that the film was both very much a collaborative effort and a soulless studio product.

These new beats to the story in Stephen Chbosky and Evan Spiliotopoulos» screenplay help to lessen the discomfort of a romance between a young woman who's being held captive by a brutish creature.

Our Hollywood Coverage, Treatment and Screenplay help position your book for film or TV adaptation.

Not exact matches

In the same way that a film studio can help a person with an incredible screenplay navigate the logistics of making a movie, a startup studio assists domain experts who might have a solid concept but aren't as strong on the coding side.

Director Uli Edel made the harrowing Last Exit To Brooklyn in 1989, an adaptation of Hubert Selby Jr's cult novel and he moves the action along very adeptly here, helped by an excellent cast and a strong screenplay from Eichinger, no stranger to controversial subjects.

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

For authors, students, screenplay writers, and anyone else looking for help in this area.

Stylized visuals add some spice, but they can not overcome the formulaic and obvious screenplay, which is of no help to a film that is structured as a mystery.

Pellington (the director of last year's Shirley MacLaine - Amanda Seyfried vehicle The Last Word) has said that grief over the death of his wife and mother led him to imagine this story, and he solicited Perry's help in crafting a screenplay.

One encouraging sign: Shyamalan had help writing the screenplay.

The screenplay is very good and helps us discover many secrets of the characters, unfolding more the history

While not a particularly novel narrative concept, Pellington uses the screenplay from NYC indie wunderkind Alex Ross Perry (Listen Up, Philip) to help collect quite the impressive ensemble of actors - including Jon Hamm, Ellen Burstyn and Catherine Keener - to play out various vignettes that revolve around intense emotional trauma.

However, the screenplay, direction, and great performances from the kids, particularly Finn Wolfhard, help this movie float.

Somehow, director / writer Brian Fee, with help from writer Ben Queen, put together a screenplay that is a worthy send - off for Owen Wilson's Lightning McQueen and brought with it a sincerity not seen in prior Cars films.

There is no director yet and the screenplay is yet to be hammered out, but I couldn't help but wonder, with the announcement of the P.T. Barnum biopic «The Greatest Showman on Earth,» whether Hugh Jackman might finally find himself in the awards hunt for -LSB-...]

It helps that he has a screenplay full of humanity from Harwood,

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.

The French Connection helped usher in the second golden age of Hollywood (arguably the best decade in movie history) and went on to win 5 Academy Awards (Best Picture, Best Director, Best Actor, Best Adapted Screenplay, Best Editing) and be named on AFI's list of 100 best American movies of all - time.

Stevens, meanwhile, makes for a convincing Beast, and both are helped by a screenplay that sought to quell any Stockholm Syndrome talk and answer the big question: Why would Belle fall for the Beast?

Only John Hodge's screenplay doesn't use the narration to move the plot — it does occasionally help keep track of the summary storytelling — mostly that narration is Trainspotting «s version of exposition.

Best Actor - George Clooney - The Descendants Best Actress - Michelle Williams - My Week with Marilyn Best Animated Film - The Adventures of Tintin Best Director - Michel Hazanavicius - The Artist Best Documentary - Page One: Inside the New York Times Best First Feature - Martha Marcy May Marlene - Sean Durkin Best Foreign Language Film - The Skin I Live In The Not - So - Obviously Worst Film - Hangover Part II The Obviously Worst Film - Transformers: Dark of the Moon Best Screenplay (Original)- The Artist - Michel Hazanavicius Best Screenplay (Adaptation)- Moneyball - Aaron Sorkin Best Supporting Actor - Albert Brooks - Drive Best Supporting Actress - Octavia Spencer - The Help

Coming up next in the awards race, we have the Writers Guild Awards happening on Sunday, February 11th, which should help us narrow down the two Screenplay categories at the Oscars (though Original Screenplay will still be up in the air thanks to the WGA's silly rules that «disqualified» «Three Billboards outside Ebbing, Missouri»), so be sure to check back to see who wins.

What easily could have been the formula for a run of the mill romantic comedy is heightened and finely tuned by a smart script that has clearly been helped by nine years of rewrites since the screenplay was first conceived as «Divorce Comedy» in 2003.

George Gatins's sophomoric and painfully obvious screenplay doesn't help, bursting as it is with groan - inducing dialog and plotting fit for coma patients.

Abrams will also write the screenplay, with help from Chris Terrio.

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.

Tamara's screenplay doesn't hold back and there are several moments where I couldn't help but feel a tad overwhelmed emotionally by what was happening to this couple.

Eventually, his strange voice becomes like music (the wonderful dialogue — and an Oscar - winning screenplay — helps).

The screenplay by Brin Hill and director Daniel Barnz lays the blame almost solely at the feet at the local teachers union, which, in this scenario, protects a teacher who sits in her classroom and uses her cell phone throughout class and ensures that no teacher will make the effort help Jamie's (Maggie Gyllenhaal) daughter Malia (Emily Alyn Lind), who has dyslexia, because school ends at 3 p.m. and so does the teacher's workday.

The screenplay by Andrew Kevin Walker and Kevin Yagher (with uncredited help from Tom Stoppard) comes to pieces in the last 20 minutes or so, but Burton's driving force pulls Sleepy Hollow out of the pits of hell.

Best Picture Will Win: The Artist Deserves to Win: The Artist Overlooked: Bridesmaids Best Director Will Win: Michel Hazanavicius (The Artist) Deserves to Win: Michel Hazanavicius (The Artist) Overlooked: David Fincher (The Girl with the Dragon Tattoo) Best Actor Will Win: George Clooney (The Descendants) Deserves to Win: Jean Dujardin (The Artist) Overlooked: Ryan Gosling (Drive) Best Actress Will Win: Meryl Streep (The Iron Lady) Deserves to Win: Viola Davis (The Help) Overlooked: Kristen Wiig (Bridesmaids) Best Supporting Actor Will Win: Christopher Plummer (Beginners) Deserves to Win: Max von Sydow (Tinker Tailor Soldier Spy) Overlooked: Albert Brooks (Drive) Best Supporting Actress Will Win: Octavia Spencer (The Help) Deserves to Win: Melissa McCarthy (Bridesmaids) Overlooked: Carey Mulligan (Drive) Best Original Screenplay: Will Win: Woody Allen (Midnight in Paris) Deserves to Win: Kristen Wiig and Annie Mumolo (Bridesmaids) Overlooked: Lars von Trier (Melancholia) Best Adapted Screenplay: Will Win: Alexander Payne, Nat Faxon and Jim Rash (The Descendants) Deserves to Win: Steve Zaillian, Aaron Sorkin and Stan Chervin (Moneyball) Overlooked: Tate Tatlor and Kathryn Stockett (The Help) Predictions for Secondary Categories Animated Feature: Rango Art Direction: Hugo Foreign Language Film: A Separation Cinematography: The Tree of Life Costume Design: The Artist Documentary Feature: Paradise Lost 3: Purgatory Film Editing: The Artist Makeup: The Iron Lady Original Score: The Artist Original Song: «Man or Muppet» (The Muppets) Sound Editing: Hugo Sound Mixing: Hugo Visual Effects: Rise of the Planet of the Apes

Find out more about how Winter will help transform the Scarface remake screenplay, after the jump.

While the screenplay does a fine job in its knowledge of the Bates mythos, the boat that is missed by Stefano is in the lack of dark, often tongue - in - cheek comedy that had a healthy helping in each one of the films in the series, which makes this the most serious, and thereby least entertaining of the series in terms of exciting moments.

He is helped out by a top notch screenplay that doesn't rely on a few petty tricks to advance the story.

«Demolition» is the work of an incredibly assured director who must've had to work hard to nail the proper tone, though he certainly had help in the form of a truly original screenplay from Bryan Sipe.

Helped by a well - crafted screenplay that delivers properly developed characters, Bier directs with the lightest of touches.

The screenplay is effective in helping us understand how a bunch of students can go from small time — arson — to the extreme — coordinated killing sprees.

The film is based on All the Truth Is Out: The Week Politics Went Tabloid by Matt Bai who has also helped write the screenplay along with Jason Reitman and Jay Carson.

Everything of course leads towards that speech, a stirring crescendo if ever there was one following ample helpings of tension and dry wit in Anthony McCarten's screenplay.

Payne said the other element that helped shape mood and tone was the austere screenplay itself that was only 90 pages.

Cinephilia and Beyond claims to have gotten hold of a 1999 note written by the auteur to fellow filmmaker James Brooks, who helped Anderson fund his first feature - length film, Bottle Rocket, and wrote an introduction to Anderson's Rushmore screenplay, which was published by Faber & Faber.

Starring Judi Dench and Steve Coogan (who also co-wrote the screenplay), and directed by Stephen Frears, the film tells the true story of a disgraced journalist whose latest assignment is helping an elderly woman find the long lost son she was forced to give up decades ago while living in a convent.

Josh Heald, who conceived the first film and shared screenplay credit with the duo of Sean Anders and John Morris, gets no credited help this time around.

One can't help but feel that the first third — easily its strongest part — is over too quickly with Wheatley and Amy Jump's screenplay concentrating most of the film's running - time on its huge shoot - out.

It also doesn't help that Karey Dornetto's screenplay seems inclined to pick up and throw away character or story beats without any sense of purpose or resolution.

Best Picture: The Artist Best Director: Michel Hazanavicius, The Artist Best Actor: Michael Shannon, Take Shelter Best Actress: Meryl Streep, The Iron Lady Best Supporting Actor: Albert Brooks, Drive Best Supporting Actress: Melissa McCarthy, Bridesmaids Best Screenplay: Nat Faxon, Jim Rash, Alexander Payne, The Descendants Best Ensemble Cast: Bridesmaids Best Foreign Language Film: A Separation Best Documentary: Cave of Forgotten Dreams Best Animated Film: The Adventures of Tintin Breakthrough Performer: Jessica Chastain, The Tree of Life, The Debt, The Help, Take Shelter, Texas Killing Fields, Coriolanus Best Cinematography Emmanuel Lubezski, The Tree of Life Best Use of Music: Ludovic Bource, The Artist Best Debut Director: Joe Cornish, Attack the Block

Jones confidently maneuvers around the lunar locations with the help of seamless, deceptively simple special effect techniques and a contemplative screenplay that's more concerned with building unexpected passages of tension than traditional shock routines.

Tarell Alvin McCraney, who won the best adapted screenplay Oscar for Moonlight, told Radio 4 Today: «One of the things that helped was the cast and crew of La La Land being so gracious and so powerfully intimate and loving.

Emmerich is again co-writing with Dean Devlin, though this time they have help on the screenplay front from Carter Blanchard, James A. Woods, and Nicholas Wright.