Sentences with phrase «screenplay turned»

And so, 15 pages of the full screenplay turned into a great short, and now the rest of the script will make it to the screen too.

McCarthy lends some visual flair to the generic material, but the clumsy screenplay turns a potentially compelling premise into an incoherent mess.

The ending is a bit problematic and you can sometimes see the wheels of the screenplay turning, but those are small issues.

The actor - writer will not be involved with writing the sequel script, but he may return to star, depending on how the screenplay turns out.

Not exact matches

In turn, there was another deal whereby Kazan would polish that screenplay.

I, Tonya, directed by Craig Gillespie, doesn't shy from the darker turns her life took, the film's screenplay working from rumor and the unreliable narration of the people around her.

We also get the Wilson brothers, not only Owen — who co-wrote the screenplay with Anderson — and Luke, but also older brother Andrew, who has turned into more of a character actor in very small roles.

Nominated for several Oscars, including one for Bridges» adapted screenplay, The Paper Chase turned neophyte actor Houseman into a star, complete with a Best Supporting Actor Oscar.

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.

It was not until he turned to playwright Tony Kushner, who earlier wrote «Munich» at Spielberg's behest, that he began to hear Lincoln's voice, perhaps a little too fulsomely; Kushner's first draft was more than 500 pages, nearly five times the customary length of a screenplay.

Mark Perez's screenplay offers up some surprisingly satisfying twists and turns, maintaining just enough plausibility to prevent the film from veering into sheer absurdity.

, as Kubrick, working from his own screenplay, delivers a meandering midsection that's riddled with padded - out and pointedly needless sequences - with the decidedly (and continuously) far - from - engrossing atmosphere exacerbated by O'Neal's often stunningly weak performance (ie the actor delivers a bland and thoroughly forgettable turn entirely devoid of charisma or presence).

However, in the second half of the film, Amiel and the stately screenplay (by John Collee, «Master and Commander») turn their attention to the saga of Annie, and how her catastrophic illness shattered Charles, his marriage (Charles and Emma were first cousins, a fact that kept the scientist forever paranoid about the health of his children), and the very questions posed in the book.

Naturally, once the screenplay was purchased, the Hollywood wizards completely changed everything about it that was original or unique and hired the prolific rewriter Brian Helgeland («L.A. Confidential,» «Mystic River») to turn it into «Gladiator.»

Moreover, the screenplay sets up a few sturdy ideas that could have been turned into something if anyone had paid attention to them, such as a 90 - minute time limit before the police come to investigate the disrupted alarm, or automatic lights or a drone camera, established in the early scenes.

Robbie Collin, The Telegraph: ««London Has Fallen's» screenplay is credited to four people, though I'd gently suggest that when your hero's dialogue becomes indistinguishable from a Britain First Facebook thread, it's time to abandon further script polishes and turn to a box of matches and a flame - charred oil drum.»

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.

The acclaimed third feature by Noah Baumbach marked a critical development for the filmmaker as he turned toward an increasingly personal style — a move that garnered him an Academy Award nomination for best original screenplay.

Quentin Tarantino's darkly funny western about a freed slave turned bounty hunter won the Best Original Screenplay award, despite the controversy surrounding its use of racially provocative language.

In a rather shocking turn of events, the screenplay for Stephen Gaghan's Syriana, a Golden Globe winner for Best Supporting Actor Monday night, was apparently classified by the Academy as an original screenplay in a meeting held in mid-December.

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.

Sharlto Copley turns up as a slick mercenary and Amanda Seyfried plays a passing tourist, but all are thrown to the wolves by a messy screenplay that never decides which tone to pick.

The rowdy screenplay by Rhett Reese and Paul Wernick («The Real Villains» according to the opening credits) is full of viciously fun winks at countless pop culture references («Yentl» gets particular attention), but it's never funnier than when it turns on itself.

Survival is victory in this polished Hollywood biographical picture, with a superb star turn by Jack O'Connell and screenplay by Joel and Ethan Coen.

The playwright - turned - filmmaker made his cinematic debut with «In Bruges,» which earned him an Academy Award nomination for Best Original Screenplay.

And screenwriter Graham Moore, winning Best Adapted Screenplay for The Imitation Game, turned his emotional speech toward his own suicidal teen years and a plea for outsiders to «stay weird, stay different.»

After writing a number of screenplays, which were turned into objectively mediocre movies, Clive Barker successfully campaigned to make his directorial debut with 1987's Hellraiser.

Robespierre, who wrote the screenplay with her «Obvious Child» collaborator Elisabeth Holm, works well with her excellent cast, even if you sense she'd rather simply turn her camera on Slate's pipsqueak - voiced energy and let Dana's regressive antics run roughshod over everything.

He would later opt to directing his own screenplays, turning in his best efforts, Pleasantville and Seabiscuit.

In all fairness, Jon Gatins and his co-writer George Gatins didn't exactly turn in a screenplay that was promising.

Garland, the novelist - turned - filmmaker who wrote and directed Ex Machina and also penned the screenplays for Danny Boyle's 28 Days Later and Sunshine, tends to split the difference between cerebral and visceral, between a «hard» sci - fi of ideas and a slam - bang sci - fi of quickening pulses.

Of course, the manic pixie dream girl who comes to life is an affectation, too, but in the screenplay by Zoe Kazan, Ruby Sparks (played by Kazan) turns out to be a multi-layered woman, with a personality all her own, which is not always to Calvin's liking.

Right, and also interestingly Eric Rohmer wrote all of his movies as short stories or novellas and then he turned those into screenplays, which is a fascinating way to do it.

writer Steven Zaillian turned in three screenplays for films of varying quality «The Falcon and the Snowman,» «Awakenings» and «Jack the Bear» that showcased the best and worst of his tendencies as a filmmaker.

Less important is the fact that a horror movie that addressed race and social issues won best adapted screenplay, which is a seriously promising turn for the Academy Awards.

Spielberg's journalistic thriller takes a screenplay written by Liz Hannah and Josh Singer and manages to turn it into a hard - hitting film that ought to make people think twice about what's going on in America.

Purists will insist on listening to the original Japanese mix, and purists who can't understand that language will turn to subtitles, of which there are two choices: a literal translation of the Japanese screenplay and hearing - impaired - enhanced «captions» from the English dub.

Funnily enough, this Oscar race could turn on Best Original Screenplay if it turns on anything.

Feature: Julia Montejo, Jesus Nebot, No Turning Back Documentary: Bill Holloway, Go the Distance Short Drama: Jeff Bemiss, The Book & The Rose Short Comedy: Vengeance Animation: The Last Mouse Screenplay: Richard Guimond, The River Pirates Granite State Filmmaker: Bobby Owen

While Fred is done with his career, Mick is working really hard on his latest screenplay, which he hopes will turn into the best film he has ever made.

But the director John Hillcoat, working from a screenplay by Nick Cave, has made a movie you can not turn away from; it is so pitiless and uncompromising, so filled with pathos and disregarded innocence, that it is a record of those things we pray to be delivered from.

Adapted from the novel by ex-CIA operative Jason Matthews, the near two - and - a-half-hour thriller twists and turns like a snake coiling around store bought prey, but has a hard time overcoming some serious distractions, such as plenty of thick, caricature courting Russian accents wending around the strict English language screenplay from Justin Haythe.

I'd be really disappointed if Hurt Locker won here — it's one of those movies that is impressive * despite its screenplay, that a director and a solid cast turned into something special.

He gifted star Jake Gyllenhaal with his best role to date amongst many strong recent turns (one that hopefully is recognized by the Academy), but also may be in line for an original screenplay nod himself.

The writers» branch got a little punchy generally, as it turned out — it also nominated the «Straight Outta Compton» screenwriters for original screenplay, another pundit long shot, over award - season perennial Quentin Tarantino and his «The Hateful Eight.»

Steven Spielberg, who I think is unquestionably one of the greatest living filmmakers, has never had such limitations, and he takes Singer's follow - up screenplay The Post — co-written with Liz Hannah — and turns it into a rich, dynamic cinematic tapestry worthy of his best films.

Graham Greene started out writing Brighton Rock as a screenplay, before turning it into his most famous novel.

Soon his whole world turns upside down... Life After Beth is both written & directed by American filmmaker Jeff Baena, making his feature directing debut after co-writing the I Heart Huckabees screenplay in 2004 with David O. Russell.

The splashiest films at T.I.F.F. largely came from directors with minimal Oscar race experience, among them Call Me by Your Name's Luca Guadagnino, The Florida Project's Sean Baker, The Shape of Water's Guillermo del Toro (a previous nominee for his Pan's Labyrinth screenplay), and most thrillingly, two young actors - turned - directors: Lady Bird's Greta Gerwig, and The Disaster Artist's James Franco (a best - actor nominee for 127 Hours).

It was first written prose style and then turned into a screenplay by a university professor, Pat Rushin, who teaches English at the University of Florida.