Sentences with phrase «screenplays for such»

You wouldn't expect little Ghost Town to have come from someone who's had a hand in the screenplays for such high - profile blockbusters as Jurassic Park, Spider - Man, War of the Worlds, and the latest Indiana Jones movie.

Home Alone marked the beginning of the end of John Hughes as a creative force, who has spent the remainder of his career penning screenplays for such movies as Dennis the Menace, Baby's Day Out, Beethoven, Flubber, and the two Home Alone sequels — almost all kid stuff.

Variety has reported that Paul Schrader - best known for writing the screenplays for such films as TAXI DRIVER and RAGING BULL - has...

The Astronaut's Wife marked the directorial debut of Rand Ravich, who previously penned screenplays for such films as The Maker and Candyman: Farewell to the Flesh.

Not exact matches

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.

Stir of Echoes was based on a novel by Richard Matheson, whose work inspired such disparate films as Somewhere in Time and The Incredible Shrinking Man; it was written and directed by David Koepp, who wrote the screenplays for Jurassic Park and Mission: Impossible.

Noxon, who also wrote the screenplay, manages to explore dark and complex issues while frequently leavening them with unexpected moments of humor, such as when Dr. Beckham organizes a family therapy session — with, besides Ellen's half - sister, also her step - mom, mom and mom's girlfriend present — and the doctor dryly remarks that this must be a «record number of moms» for a single family session.

As such, «Django Unchained» isn't much of an adaptation for the screen as it is a completely faithful distended adaptation of a screenplay that reads better as a book.

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.

Obviously such great acting results come from the experienced direction of David O. Russell, who received his first Academy Award nomination for Best Director and noms for Best Picture, Original Screenplay, and Editing.

The 12 nominations for «The King's Speech» — including crucial nods in key categories such as Best Picture, Best Director, and Best Original Screenplay — means Tom Hooper's historical drama (and not David Fincher's Facebook film) is -LSB-...]

But for such a heady draught of melodrama, From the Terrace also features a screenplay with all the immediate, acerbic bite of a hard - boiled film noir.

We can only hope that one day they'll join the 21st century and include all screenplays for their awards in the future, instead of being bogged down by misguided, self - indulgent guidelines such as they have now.

The Martian is one of the most talked about films of the year and has been named one of the best movies of the year by groups such as National Board of Review, which also awarded top honors to Ridley Scott for Best Director, Matt Damon for Best Actor and Drew Goddard for Best Adapted Screenplay.

The directorial debut of Bryan Buckley, The Bronze serves as a star vehicle for The Big Bang Theory's Melissa Rauch, who also co-wrote the screenplay with her husband Winston (their first, and it shows), and it makes you wonder why anyone would write such a vile, intolerable character for themselves to play.

I get that Zemeckis, who co-wrote the screenplay with Christopher Browne, is trying to capture that whimsical zest for life Petit had, but it would have been more effective to play into the dangerous and illegal aspects to really show off how fearless and crazy he was to try to attempt such a daring act.

Awkward situations arise and are played for laughs, such as the dilemma of needing to use the bathroom when standing at attention (The screenplay, thankfully, is below such euphemisms) or the question of tongue usage («Are you trying to dig your way to China?»)

Film screenwriter Bill Dubuque used his knowledge that he amassed while writing the screenplays for films such as The Accountant and A Family Man to co-create Ozark, a TV series starring Jason Bateman about a financial planner who launders money for a Mexican cartel in the Missouri Ozarks.

Written and directed by Dale Launer, who had been the screenwriter for some pretty good comedies, such as My Cousin Vinny, Dirty Rotten Scoundrels, and Ruthless People, this would be his first and last attempt at directing (also his last screenplay).

Affleck's writing credits are best known with such films as GONE BABY GONE, THE TOWN, and his Oscar - winning screenplay for GOOD WILL HUNTING.

Such is the price for Disney choosing to adapt a British children's book into an ambitious period musical fantasy with precocious children, a central sequence set in an animated world, songs by Richard and Robert Sherman, a screenplay by Bill Walsh and Don DaGradi, direction by Robert Stevenson, a theatrically accomplished leading lady, a leading role played by David Tomlinson, music supervision by Irwin Kostal, Peter Ellenshaw visuals, Cotton Warburton editing, Bill Thomas costuming, Gausman & Kuri set decoration, and La Rue Matheron hair styling.

Sometimes, even in his most brilliant moments, he can be almost a little too clever by half, with a screenplay that weaves its story threads into such perfectly constructed knots that unwrapping the whole can be tiresome for those who just want a simple tale well told.

Maria Bello deserves major credit for taking on such a daring role, even if the screenplay forces her character to over dramatize for much of the second half of the film.

Established in 2005, the Alfred P. Sloan Commissioning Grant is an annual cash award for a science - or technology - related project that is at an early stage, such as a full treatment or early screenplay draft.

The sumptuously filmed classical drama will be a strong awards contender (for cinematography as well as foreign film) and could prove an art - house hit in North America, adding to such Amazon successes as Kenneth Lonergan's «Manchester by the Sea» (Roadside Attractions) and Asghar Farhadi's «The Salesman» (Cohen Media), which both won Oscars, as well as last year's Sundance acquisition, summer hit «The Big Sick» (Lionsgate), which earned an Original Screenplay nomination.

The film only won two Oscars, including Best Adapted Screenplay for Blatty, But it proved to be such a critical and commercial sensation that the movie overcame the industry's marginalization of stories about things that go bump in the night (and cause heads to do complete 360 - degree rotations).

But for general audiences, the screenplay describing this superhero's origin falls pretty much in line with the string of other such action figures we've seen over the past few years.

For the film to be a contender for picture, the «Inside Out» script by Docter, Meg LeFauve and Josh Cooley will likely have to be held in such high regard that it too is a contender for the Best Original Screenplay OscFor the film to be a contender for picture, the «Inside Out» script by Docter, Meg LeFauve and Josh Cooley will likely have to be held in such high regard that it too is a contender for the Best Original Screenplay Oscfor picture, the «Inside Out» script by Docter, Meg LeFauve and Josh Cooley will likely have to be held in such high regard that it too is a contender for the Best Original Screenplay Oscfor the Best Original Screenplay Oscar.

Such is the case with writer / director William Monahan's (Oscar winner for his screenplay of The Departed) latest film.

Personally would have dumped Flight, which had a screenplay that tended to drift toward schmaltz and didn't quite earn its ending, for something exciting that wouldn't win, such as Rian Johnson's Looper script, which would get the Inception treatment (i.e. nerds love that it got nominated and rage when it doesn't win, even though it never had a chance in the first place) from a couple years ago.

Back in Hollywood thereafter — the movie elides the two years he spent in Mexico with three other screenwriters and their families — he's obliged to support his family by writing screenplays under pseudonyms for low - rent producers such as the King brothers (played for laughs by John Goodman and Stephen Root).

Director George Roy Hill's second collaboration with Robert Redford and Paul Newman epitomizes everything that made the 1970s such an amazing and transitional period for American cinema, beginning with David S. Ward's Oscar - winning screenplay.

What's perhaps most disappointing about this routine outing is a screenplay from Adam Cozad and Craig Brewer, particularly for the presence of the latter, who directed provocative and challenging titles such as Hustle & Flow (2005) and Black Snake Moan (2006) earlier in his career.

While Polley has starred in such films as DAWN OF THE DEAD, GO and THE SWEET HEREAFTER, she has been causing a buzz with her film projects, even earning an Academy Award nomination in Best Adapted Screenplay for her movie AWAY FROM HER.

The biggest question isn't why it wasn't better, but why was it ever given such a high budget (reportedly about $ 100 million) for such a weak screenplay?

The screenplay by Pamela Gray, Annie Mumolo and Tim Lovestedt sometimes stalls in familiar corners, such as a romance for Megan with a marine and fellow New Yorker (Ramon Rodriguez) who sexily mock - feud about the Mets vs. the Yankees.

Alex Garland has become known for some pretty great sci - fi screenplays, such as 28 Days Later, Sunshine and Dredd.

Besides its new setting, Fantastic Beasts marks another first for Rowling — it's her first screenplay for one of her stories, and as such the movie suffers from issues any first - time screenwriter might encounter, namely pacing and narrative structure.

Scripters Simon Boyes and Adam Mason attempt to liven things up by sprinkling the proceedings with distinctly oddball subplots, including an assassin dying of a terminal illness, but, like everything else contained in this mess of a screenplay, such digressions wind up going absolutely nowhere (ie there's no satisfactory payoff for anything here).

Credit goes to both Affleck and writer Chris Terrio (in addition to historical events, the screenplay was based on an article from «Wired» magazine by Joshuah Bearman) for applying such a delicate touch to the film.

Scott Z. Burns» screenplay for Side Effects is an expertly crafted game of dishonesty, betrayal, and manipulation that turns the tables on its characters with such dexterity that we barely perceive it happening until the consequences fully reveal themselves.

McCarthy, whose books have been adapted into such fantastic films as No Country for Old Men and The Road, sold the spec screenplay The Counselor...

It's odd that a filmmaker so previously interested in fatherhood and maleness (and unburdened by the traps of bro - ness that trip up his contemporaries) doesn't specifically explore the ripe opportunities for such examination in his own screenplay.

I'm not saying a clear cut, three act screenplay was mandatory, but the narrative is such that we don't know whom we're supposed to be rooting for.

After all, it was Eric Heisserer's screenplay from Ted Chiang's story that gave Adams the motivation and the fuel for such a nuanced portrayal of grief and misery, amidst a time of great discovery and tension that Arrival has to offer.

The cinematography (shout out to the great Roger Deakins), the acting (literally, every cast member adds such a terrific element to the narrative), and Taylor Sheridan's screenplay — all led by director Denis Villeneuve — make for a brilliant film.

In the latter category, there are Pam (Jason Mantzoukas), a gun - toting shopkeeper who sells drugs to kids out of an ice cream truck, and Jason's cousin Nick (Adam Pally), a younger version of Dick who shows up on crutches during the movie's climax for no apparent reason (It might seem like a useless point to raise, but the screenplay somehow lacks logical consistency, such as when Jason scolds Dick for smoking the «gateway drug» of marijuana after the grandson smoked crack earlier).

If the word «adapted» is tripping you up, the CliffsNotes explanation is that the Academy's nutso rules decree that established franchises, whose subsequent installments have such credits as «based on characters created by Richard Linklater and Kim Krizan,» become ineligible for Original Screenplay honors.

Hacksaw Ridge doesn't really feel as such, maybe because for all intents and purposes, this is a screenplay that is not exactly original, but by no means adapted, either.

I can't imagine the Academy going for Black Swan in such a big way as the BFCA did, but on the other hand it could surely rack up quite a few nominations if they really love it: Picture, Director, Actress, Screenplay, Cinematography, Editing, Costume Design and so on.