Sentences with phrase «screenplay seems»

Director Gus Van Sant keeps the movie's focus on Steve's ever - growing crisis of conscience, even when the screenplay seems to veer into territory that either seems to have no place (Steve's never - burgeoning relationship with Alice is unnecessary — not to mention Sue's with a local man — given how many people have a similar or worse reaction to him once Dustin starts spreading his propaganda) or puts everything into terms of on - the - nose simplicity.

The screenplay seems disinterested with just about every aspect of this story.

The screenplay seems like it came from Woody Allen's reject pile — 20 years ago.

While not likely to be a mainstream success, Jonze's fourth film and first original screenplay seems destined to be another cult favorite of the film community.

The two have modest chemistry together at best, but then that is just as much as the film's screenplay seems to want.

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.

Speaking with Vulture, he managed to let slip a few more details about the film, including the fact that the screenplay seems to be actually complete now.

Gregg Hurwitz's screenplay seems to be endorsing the therapeutic benefits of vigilante violence for dealing with bereavement as well as for addressing alleged child abuse.

Director Keating's attention - getting deftness behind the camera is never in doubt, but his screenplay seems to lack the context needed for any of the savage violence to feel satisfactorily earned.

It is, quite frankly, rather astonishing just how uninvolving and underwhelming Confidence reveals itself to be, with the movie, right from its opening frames, assuming a palpably generic feel that's reflected in its eye - rollingly mannered dialogue and plethora of telegraphed plot twists (ie Doug Jung's lazy screenplay seems to have emerged directly from a template for movies of this ilk).

Picture and Adapted Screenplay seem like they could certainly happen, and I wouldn't count out Cinematography at all, but the rest seem like long shots to differing degrees.

Not exact matches

«The Rite» is chock - full of heaving, cursing, ranting characters, who, according to the screenplay, are possessed by Satan, people who one moment seem fine and the next are raging against all that is holy.

Great performances (Sissy Spacek and Anne Bancroft) but it's hard to overlook a screenplay that seems better suited for the stage.

Here the screenplay shows its true colors, as Popper's son unquestionably assumes that the penguins are a birthday present, and no one, including his seemingly astute ex-wife (Carla Gugino) seems to wonder at the impossibility of obtaining and maintaining these animals.

This may seem like a knock on Rowan Joffe's screenplay (adapted from Martin Booth's novel A Very Private Gentleman), but it could say as much or more about the director's decision to shoot in a moody, meditative manner — and cast characterful Euro faces who deliver dialogue as if it were carved in stone.

The screenplay, written by Riko Sakaguchi and Yonebayashi, is based on the 1971 children's novel The Little Broomstick by British author Mary Stewart, and the movie's story seems to exist in a unique place, with the characters appearing British but drawn in that specific style of Japanese animation, while the backdrops look as if they could be set in any place where there are fields and forests and farms and tiny villages down some dirt road.

And it's worth noting that the screenplay for «The Post» was purchased in 2016, when it seemed there would be a different occupant in the White House.

The Post seems certain to draw a number of major Academy Award nominations, including Best Picture, Best Director, and Best Original Screenplay.

Like Gleeson and Byrne, Gluck seems to recognize his film's inherent frivolousness, frequently calling attention to some of the screenplay's plot mechanics and hacky tropes — at one point even hanging a lampshade on Peter's famous blue jacket, in acknowledgement of the object's trite value as an emotional symbold.

The film's disappointments lie not so much in Almodovar's controlled, respectful direction as in the strange gaps and displacements of his screenplay, which never seems to supply the scenes we most want to see.

The director, Ted Kotcheff, does a good job with the violence and suspense, working well with the wide - screen format, and he seems fully aware of the dark, subversive implications of the material, even if the screenplay doesn't allow him to resolve them successfully.

In the film's final act, the screenplay serves them up what might otherwise be a moment of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial tail.

But in «The Crossing Guard,» for which Mr. Penn wrote the screenplay, he and Mr. Nicholson seemed boxed in by a story that was basically a fancily embellished cat - and - mouse game with pretentious quasi-religious overtones.

The screenplay by Lelio and Rebecca Lenkiewicz (Ida), adapted from a novel by British writer Naomi Alderman, provides generous insight into cultural and spiritual customs, and offers an intriguing perspective on how their patriarchal basis seems outdated in the 21st century.

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

Paul Haggis, who spoke with such remarkable confidence through his screenplay for Million Dollar Baby, one of the best films of the past few years, seems to be his own worst enemy in Crash, his directorial debut.

Self's screenplay is a wasteland of cliches and predictability, while De Bont seems more interested in showing off production designer Eugenio Zanetti's remarkable sets.

«Everything always seems to work out,» Thor reminds us — blithely — not just once, but twice, in a screenplay (by Eric Pearson, Craig Kyle and Christopher Yost) that elevates «Ragnarok» to the giddy heights of «Guardians of the Galaxy» and «Deadpool» in its refusal to take itself seriously.

There's a trailer out there that people seem to like, it has pedigree (writer - director Bill Condon adapted the screenplay for Chicago, another musical turned undeserved Best Picture winner), and it's been promoted with a certain amount of swagger.

Seem Locked: Picture - Argo, Adapted Screenplay - Argo, Supporting Actress - Anne Hathaway, Editing - Argo, Foreign Language Film - Amour, Best Actor (perhaps)- Daniel Day - Lewis, Costumes - Anna Karenina, Sound - Les Miserables, Visual Effects - Life of Pi, Documentary — Searching for Sugar Man, Makeup - Les Miserables, Song - Skyfall.

Stone and Cooper, age gap of 13 years, seem to have left their charisma in the airport, as they fumble through a screenplay that tries to be comic, dramatic, meaningful and romantic all at once and hits precisely none of those marks.

But two other losses that seemed like easy wins were Michael Fassbender to Captain Phillips «Barkhad Abdi and even stranger, Philomena beating it in Adapted Screenplay.

Oscar nominated in a technical category (though many thought it would slip into Best Adapted Screenplay), it seemed to unabashedly set out to make you cry.

Sometimes that seems accurate enough (going all the way back to the win for Citizen Kane, which lost Best Picture to How Green Was My Valley), but just as often, you'll find Screenplay picks that are just as boneheaded as any other Oscar win.

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking «What's the opposite of the sunken place?»

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking...

Zellweger is fetching, but the screenplay never seems to make a credible connection between its puppy - love scenes and those of emotional torment.

Stars Dougray Scott, Kate Winslet, and Jeremy Northam are fine, Tom Stoppard's screenplay would on the surface surely seem fine, and Michael Apted's polished, if unremarkable, direction is the very definition of just fine.

Filmmaker Carl Tibbetts, working from a screenplay cowritten with Janice Hallett, has infused Retreat with an almost excessively deliberate pace that proves problematic right from the outset, with the movie's hands - off atmosphere exacerbated by Newton's cold, oddly unsympathetic performance (ie she seems to actively hate her own husband).

It's the kind of old - fashioned yet multi-layered movie that Hollywood filmmakers seemed to have forgotten how to make in 1991, when well - written, carefully structured screenplays often appeared to have gone the way of manageable budgets.

Given the screenplay was written by Paul Rudd's wife, Julie, a cameo appearance seemed to be a...

If the party seems a bit far - fetched, and it does at points, Simien (who also wrote the screenplay) reminds us during the credits that scenes like this are not just the stuff of movies.

The screenplay by Nelson Gidding (The Haunting, Beyond the Poseidon Adventure) stays mostly faithful to its source material, which is laudable given the fact that it would have originally seemed to most writers to have been unfilmable without injecting a great deal of action.

The Avengers (appreciated your Screenplay mention - everyone seems to have forgotten it) 9.

It seems to me that many are phasing their praise for the film to suggest its quality is somehow in spite of Spielberg and attributing most if not all the kudos to the screenplay and cast.

All hail Shane Black, the king of the fast - quipping buddy comedy - thriller, and a man who seems incapable of writing a screenplay without somehow involving Christmas.

Ever since Get Out opened last February, I'd been cautioning that, realistically, an Original Screenplay nomination was its best bet for Oscar (because based on Oscar history, it was, but Oscar seems ready for a new phase).

What seemed like a three - way race in Original Screenplay at the Oscars between La La Land, Manchester by the Sea and Moonlight is now just between the first two (who tied at the Critics Choice Awards this weekend).

Seems like it'd be a tricky screenplay.

Hard as it may be to believe, it seems there are a lot of people in and around the industry who don't fully understand what a screenplay is — who think that «writing» equals «dialogue.»