Sentences with phrase «screenplay make»

Excellent acting and a well - crafted screenplay make this film an unforgettable one.

Sampaio and his collaborators address the challenges and pitfalls of turning a beloved song into a movie, lamenting that fabulous lyrics do not a screenplay make.

James Stuwart and Katharine Hepburn were magnifient to see on screen, their performance and the great screenplay made the whole movie, while Cary Grant and Ruth Hussey were amazing, too.

It's a fine, if simple, argument that James Solomon's screenplay makes, envisioning an entire military court proceeding as political theater — to show those in the North that they mean business about unity and to scare those in the South who might have similar bloody thoughts.

It wants to understand the character's motivations and the personal consequences of his actions, but director Brad Silberling's screenplay makes two, separate miscalculations.

Its exquisitely crafted screenplay made all the difference in helping it stand out from the crowd of recent horror.

The screenplay makes sure everyone's motives about the MacGuffin are clearly and repeatedly stated, lest anything like actual characters form in the absence of constant exposition (Even Aguilar's romance with a fellow Assassin, played by Ariane Labed, is only established about midway through the story in the past).

Allison makes it a point whenever possible to remind Brian — and the audience — that she is «one quarter Hawaiian,» which is the half - assed concession the screenplay makes for not casting an actual Asian in the role.

Neil Marshall's screenplay makes masterful use of dubious morality, infusing its protagonists, particularly the duo of Sarah (Shauna Macdonald) and Juno (Natalie Mendoza), with numerous shades of gray.

Buoyed by excellent reviews — and quite possibly controversy over its «warts and all» painting of Jobs — Danny Boyle's film based on Aaron Sorkin's screenplay made the best limited release showing of 2015 so far — $ 521,000 from just four cinemas in New York and Los Angeles — as it builds towards an Oscars run.

The 2010 Venice Film Festival Winner For Best Director And Best Screenplay Makes Its DVD and Blu - ray ™ Debut October 18 From Magnolia Home Entertainment Under The Magnet Label

Aside from brief flashbacks to Captain America: Civil War, the presence of Martin Freeman as Everett K. Ross, and the very last scene before the theater lights go up, director and co-writer (with Joe Robert Cole) Ryan Coogler's screenplay makes almost no mention of characters or circumstances from the larger MCU.

The screenplay makes no real attempt to get to know its lead, likely a deliberate technique that backfires in a major way.

Not exact matches

Peele made history on Sunday as the first African - American to win an Oscar for best original screenplay.

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.

With no prior movie - making experience, entrepreneur Mark Hulme, founder of Dallas - based publishing company the Five Star Institute, decided in 2011 to produce a movie about the late tech innovator and commissioned an employee to pen the screenplay.

But the special purpose entity created for the production, in tracing the chain of title on «Silence,» became aware of a 2002 agreement that Cecchi Gori had made with an individual named Michael Gordon to write the «Silence» screenplay.

Rogers was in his twenties when his first - ever screenplay was made, «Hope Floats,» the 1998 romance movie starring Sandra Bullock and Harry Connick Jr. that has since become a staple on cable TV.

During Lent, I've been rewatching the magnificent 1981 BBC production of Brideshead Revisited — the best TV adaption ever made of a great novel, in part because of the stunning cast but in larger part because Evelyn Waugh's book is the screenplay.

«He had not made any copyrightable (or other substantive) contributions to the screenplay,» it said.

At Sunday's Oscars, actor, screenwriter and director Jordan Peele made cinematic history, becoming the first black director to win an Oscar for best screenplay.

Recent and upcoming releases include the romance - horror hybrid Spring; the hotly - anticipated The Look Of Silence, Oppenheimer's companion piece to The Act Of Killing; The Connection, a 70's - set true crime epic and European flipside to William Friedkin's The French Connection starring Oscar ® winning Best Actor Jean Dujardin (The Artist); The Keeping Room, from director Daniel Barber (Harry Brown), based on Julia Hart's acclaimed Black List screenplay, starring Brit Marling, Hailee Steinfeld and Sam Worthington; the multiple Cannes award winning The Tribe, filmed entirely in Ukrainian Sign Language with a cast of deaf, non-professional actors; and a remastered re-release, in conjunction with Olive Films, of the 1981 disasterpiece Roar, the most dangerous film ever made, starring Tippi Hedren, Melanie Griffith and a cast of 150 untrained lions, tigers and exotic animals.

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.

No one's prodding us to write the screenplay or novel we've been dreaming about, perhaps have even started, making sure we fill up the blank page.

Wilders and Brackett's screenplay has some laughs, and Lubitsch knows how to get the most out of the least, but this movie was a mistake to make in the first place.

But they escape and make their way to Basra, where Ahmad, now living as a beggar, meets and falls in love with the Princess (June Duprez), who has been betrothed by her father the Sultan (Miles Malleson, who also wrote the screenplay) to Jaffar.

The screenplay is so sluggish, they're like Derby winners made to carry extra weight.

Jon Peters and Peter Guber, the producers, and their army of employees, including Sam Hamm and Warren Skaaren, who wrote the screenplay, and Tim Burton, the director, have elected to avoid the camp style that made the «Batman» television series so popular 20 years ago.

It has a great screenplay and it actually works with tons of horror film stereotypes which make it even better.

But in the capable hands of director David O. Russell («Three Kings,» «I Heart Huckabees»), working from a screenplay by Scott Silver, Paul Tamasy, and Eric Johnson, Micky Ward's hardscrabble rise to the top — OK, to the middle — makes for a compelling underdog sports drama.

This movie has the same form of pacing and dialogue that that film has and upon research after watching The Post, I realized that the same writer in Josh Singer had worked on both of these screenplays, which made complete sense.

The beneficiary of it is director Chris Miller who makes use of Jeffrey Price, Peter S. Seaman and John Zack's tight screenplay to draw a slightly agonizing moral at the end.

I was not one of A Beautiful Mind's historical accuracy Nazis, who used the film's marginalization of the real John Nash as a way to bash the film (for my money, it was the horrid screenplay and direction that made it such a painful film to watch, not its artistic rewriting of history), though the erasing of Turing in Enigma is rather distressing.

McQuarrie's complex screenplay — based on a story co-written by Drew Pearce — may not have much to do with current global concerns, but he makes you care enough about the characters to directly affect your pulse and respiratory system.

Great screenplay from Parker and Stone and a surprising amount of care in game design from Obsidian make this an experience that, while might not offering a challenge, surely achieves its primary goal.

But unlike so many other recent (or upcoming) Hollywood products, it was made from an original screenplay (Faber and Fisher previously wrote for TV sitcoms); it didn't come from a source that audiences are already familiar with, like an old television show or a previous movie.

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.

A poor screenplay and some dubious acting in subsidiary roles make for a misguided horror thriller.

Making a film with fine performances, adept direction, first - rate photography and a doltish screenplay is like starting a rock band with no drummer.

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.

When I said that the film hits particularly bland spells, I really did mean it, though I'd be lying if I said that the film ever slips into downright dullness, thanks to an adequate degree of colorful wit within Sherriff's, West's and Maschwitz's screenplay, which, at the very least, delivers on engaging characterization that is made all the more engaging by the portrayals of the characters.

The big bum - note is a curiously stodgy screenplay, penned by director McQuarrie, who is also credited with writing one of the finest thriller films ever made with The Usual Suspects.

After this lengthy introduction in Scott Neustadter and Michael H. Weber's screenplay (based on a book by the real Sestero and Tom Bissell), the film turns to a lengthy recreation of the in - front - of - the - camera and behind - the - scenes mishaps of the making of The Room.

The screenplay by Ryan Engle («Rampage,» «The Commuter») squanders its potential for emotional depth, making Breaking In a serviceable, but indistinct product.

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.

And his screenplay (written under the pseudonym Frank Armitage) makes the principals sound even more tongue - tied than they have to.

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

But the screenplay, by Josh Singer (co-writer of Spotlight) and first - timer Liz Hannah, doesn't make the choice too simple.

Contributing to screenplays for the great Polish directors Andrzej Wajda (Danton) and Krzysztof Kieslowski (Three Colors), Holland has spent most of the past quarter - century making films in the West, including adaptations of Frances Hodgson Burnett's The Secret Garden and Henry James» Washington Square.

Beginning his career as an author and responsible for the source material of Danny Boyle's The Beach in 2000, Alex Garland then directly ventured into the film industry by doing screenplay's - again with Boyle on 28 Days Later and Sunshine - before he eventually took the reigns himself by making his directorial debut with the magnificent science fiction film Ex Machina in 2014.