Sentences with phrase «screenwriter turned director»

The screenwriter turned director, who dominated the action genre in the 90s, is back with The Nice Guys, which proves he's still the hard - boiled king

Screenwriter turned director Arai Haruhiko visits Japan Cuts with his life - during - wartime drama, This Country's Sky.

Oscar Isaac, Kirsten Dunst and Viggo Mortensen, who star in The Two Faces Of January, an excellent psychological thriller adapted from a Patricia Highsmith novel by screenwriter turned director Hossein Amini.

That would leave George Nolfi, the screenwriter turned director of The Adjustment Bureau, and brothers Anthony and Joe Russo, who between them have directed more than 30 episodes of NBC's Community.

The Wind and the Lion (1972), the sophomore feature of the film school - trained screenwriter turned director, takes on a romantic tale of rebellion and response, honorable ancient codes and modern military might, and the first stirrings of the United States of America, the modern, maverick young country in a political culture dominated by the history - seeped empires of old Europe, as a world power.

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Screenwriter turned director Gilroy (Freejack, The Bourne Legacy) crafts a tense atmosphere in this contemporary film noir, and gives Gyllenhaal the opportunity to deliver what may be his most forceful, compelling performance yet.

«I'm a Cyborg, But That's OK» (Pathfinder) is an offbeat character piece by South Korean auteur Pak Chan - wook (of «Oldboy» fame) and foreign terrors come from «The Child's Eye» (Lionsgate), a Hong Kong production from The Pang Brothers, and «The Sylvian Experiments» (Lionsgate) from Japanese screenwriter turned director Hiroshi Takahashi.

Not exact matches

By age 21, Carstairs was an established screenwriter, and at 24 he turned director with Paris Plane (1934).

Accepted was the first feature film from screenwriter - turned - director Steve Pink.

The slapdash comic flailing of screenwriter and TV scribe - turned - director Ed Decter is only compounded by a script so disconnected you have to wonder if pages were lost on the way to the set.

A cynical New York salesman (Michael Keaton) finds his scornful ways unexpectedly softened upon falling for the fiancée of his new business partner (Brendan Fraser), a Midwest transplant attempting to find his footing in the city, in screenwriter - turned - director Michael Caleo's feature directorial debut.

Born in 1937 in West Cliff - on - Sea, England, screenwriter - turned - director Dick Clement cut his teeth on the small screen in his mid - to late twenties, as a BBC television writer and director, including such now - classic programs as the sitcom The Likely Lads (1964), the Dudley Moore and Peter Cook series Not Only... But Also (1965), and the brief Steptoe and Son successor Mr. Aitch (1967), starring Harry H. Corbett.Clement segued into big - screen comedy in 1966, co-scripting (with Ian La Frenais) the Michael Winner - directed picture The Jokers.

The Salesman (Le Vendeur) / Canada (Director and screenwriter: Sébastien Pilote)-- Car salesman Marcel Lévesque operates by the rules of a bygone era, turning on the charm to make his quota.

Higher Ground (Director: Vera Farmiga; Screenwriters: Carolyn S. Briggs and Tim Metcalfe)-- A frustrated young mother turns to a fundamentalist community for answers, but after years of dogma and loss, she must find the courage to ask the questions that will help her reclaim her life.

Director Kathryn Bigelow and screenwriter Mark Boal, the filmmaking team behind the Oscar - winning war drama The Hurt Locker and the tremendous post-9 / 11 procedural Zero Dark Thirty, are looking to possibly turn the...

So what the screenwriters and Mark Waters, the director of «Ghosts of Girlfriends Past» and «The Spiderwick Chronicles,» do is turn it into a generic and sentimental dad - lost - his - family - because - he - was - married - to - his - job story, sort of «The Haunted Mansion» or «Imagine That» without Eddie Murphy.

Screenwriter John Romano served time as writer - producer on Hills Street Blues, L.A. Law and Monk, while director Brad Furman turned to crime in his first feature, The Take.

Mild controversy hovers over the new film by Alex Garland, the novelist - turned - screenwriter - turned - director.

«Deadpool 2» director David Leitch and screenwriters Rhett Reese and Paul Wernick break down those surprising twists and turns from the blockbuster comic book movie.

Back in 2010, Zero Dark Thirty director Kathryn Bigelow and screenwriter Mark Boal were coming off their Oscar wins for The Hurt Locker, and turning their attention to the crime drama Triple Frontier (also known as Sleeping Dogs).

Maybe my expectations were duly lowered but director Francis Lawrence, who took over the series from filmmaker Gary Ross and raised the bar, and screenwriters Peter Craig and Danny Strong turn out a surprisingly engaging film about rebellion, propaganda, media, and the emotional and psychological scars of war, all seen from the point of view of a young woman (Jennifer Lawrence) who becomes a symbol of resistance simply by surviving with courage, dignity, and compassion.

Garland's science - fiction chamber piece — his first film as director, and fifth as screenwriter, after 28 Days Later, Sunshine, Never Let Me Go and Dredd — starts from the premise that no one knows us better than our internet browsers, then turns that queasy intimacy inside out.

Mike White — «Year of the Dog» Maybe one of the purest expressions of «screenwriter - turned - director» (though he's also an actor given to appearing in character roles in some of his films) Mike White had, in years leading to 2007, carved out quite a distinctive place for himself as an indie screenwriter dealing more in low - key human dramedy than some of the more bombastic Shane Black - types, or more mainstream Steve Zaillian - types on our list.

But of all those jealously eyeing the director's megaphone (metaphorical sadly, they seem to have gone the way of the plus - four as part of the director's standard kit) perhaps those with the most reason to be covetous are the screenwriters, the hardy souls who turn in 120 - page draft after draft, only to have their baby wrested from their grasp and dressed up, maybe brilliantly but often not, in clothes they might not have chosen themselves.

Tony Gilroy — «Michael Clayton» As this list will show as it goes on, screenwriters can break through into successful directing careers, but truly excellent debuts from screenwriter - turned - directors are rarer.

You can read our full review of the teenage assassin movie here or a more concise summation here, but if you want to see how it might stack up against previous screenwriter - turned - director efforts, we've collected a bunch of them together here.

Which is all right with us, as we're big fans of the man who was not only, famously, the highest - paid screenwriter in Hollywood at one time, he has also turned out to be a genuinely terrific genre director, with a particularly bright eye for the wit and wisecrackery he writes so well.

All of this ardent feminism is a great thing, but placed in the inept hands of screenwriter and director Gina Prince - Bythewood it turns into an excuse to attempt to further a story about love.

Filmmakers Phil Lord and Chris Miller, who turned «The Lego Movie» into a surprise hit, act as producers on «The Lego Batman Movie,» having given up the directors» and screenwriters» chairs to Chris McKay and Seth Grahame - Smith, respectively.

But in the hands of smart screenwriter Steven Rogers and equally sharp director Craig Gillespie (Lars and the Real Girl), I, Tonya turns out to be one of the year's most welcome and darkly funny surprises.

Blue Ruin / U.S.A. (Director and screenwriter: Jeremy Saulnier)-- A mysterious outsider's quiet life turns upside down when he returns to his childhood home to carry out an act of vengeance.

Sleight (Director: JD Dillard, Screenwriters: JD Dillard, Alex Theurer)-- After a young street musician is left to care for his little sister following their mother's passing, he turns to dealing drugs, but quickly runs into trouble with his supplier.

The Intervention (Director & Screenwriter: Clea DuVall)-- A weekend getaway for four couples takes a sharp turn when one of the couples discovers the entire trip was orchestrated to host an intervention on their marriage.

Knock Knock / U.S.A. (Director: Eli Roth, Screenwriters: Eli Roth, Nicolas Lopez, Guillermo Amoedo)-- Two beautiful young girls walk into a married man's life and turn a wild fantasy into his worst nightmare.

Director Roger Michell and screenwriter Hanif Kureishi previously collaborated to turn Kureishi's novel «The Buddha of Suburbia» into a successful serial for British television, which is exactly where «The Mother» also belongs, as periodic breaks for advertisements might well serve to cover up its somewhat plodding pace and occasionally aimless repetitions.

This is a deft, clever adaptation by director Stephen Frears and screenwriter Christopher Hampton of Colette's Chéri novellas, with a commanding star turn by Michelle Pfeiffer as the aging courtesan, Léa, who falls for the corrupted youth, Chéri.

Chartering the life of this little - known tale is Stephen Gaghan («Syriana»), who has always excelled as a screenwriter and whose few turns as a director have been greatly rewarding.

The concept alone of a deadly videocassette doesn't sound especially gripping, but director Gore Verbinski and American screenwriter Ehren Kruger know exactly how to turn that premise into an utterly arresting experience.

Director Todd Haynes and screenwriter Phyllis Nagy discuss the challenges of bringing to the screen the 60 year old Patricia Highsmith book, The Price Of Salt (which explores a lesbian romance in the early 50's) and turning it into the movie Carol.

Some feared that turning Gillian Flynn's bestselling novel into a movie couldn't be done, but with Flynn herself in the screenwriter's chair and the clinically precise David Fincher wearing the director's hat, it's turned out a treat.

Screenwriter Anthony McCarten («The Theory of Everything»), director Joe Wright (who delivered a stunning single take of the beach at Dunkirk in «Atonement»), and Oldman (who has only been nominated once, for «Tinker Tailor Soldier Spy») turn what could have been a wordy chamber drama into something viscerally compelling and far more timely than anyone anticipated.

The screenwriter - turned - director who helped engrave Martin Scorsese's reputation with his scripts for Taxi Driver and Raging Bull is wearing black pants and a nubbly black sweater over a white shirt.

The Memento - like premise is utilized to exceedingly agreeable effect by director Egoyan and screenwriter Benjamin August, as the movie's first half benefits substantially from an emphasis on the mystery behind Zev's hand - written orders - with the character's quest, which is consistently hindered by his crumbling mental state, heightened by Plummer's typically masterful turn.

Despite Lawrence's best efforts, not to mention the obvious efforts of director Francis Lawrence, Red Sparrow collapses under the weight of screenwriter Justin Haythe's dull, uninspired adaptation of former CIA - agent - turned - author Jason Matthews» debut novel.

Despite Lawrence's best efforts, not to mention the obvious efforts of director Francis Lawrence (Hunger Games 2 - 4, I Am Legend, Constantine), Red Sparrow collapses under the weight of screenwriter Justin Haythe's (A Cure for Wellness, The Lone Ranger remake) dull, uninspired adaptation of former CIA - agent - turned - author Jason Matthews» debut novel.

Working with actor - turned - screenwriter Taylor Sheridan, with Sicario the director has turned in his most unnervingly emotional cinematic effort yet.

Just like that, director David Mackenzie establishes, first, the idea that the men in that blue Camaro are up to no good; second, the current of economic desperation driving screenwriter Taylor Sheridan's story; and third, the religious posturing that offers an alternative to existential despair, with roadside churches, TV evangelists, and Christian radio offering a relentless white - noise stream of piety on demand to an American underclass with nowhere left to turn.

We know how this story of the 1979 Iran hostage crisis will turn out, so screenwriter Chris Terrio (working from the book The Master of Disguise by the film's central subject Antonio J. Mendez and an article by Joshuah Bearman) and director Ben Affleck instead build the film's tension out of a blow - by - blow account of the details of a covert operation happening alongside the larger and more publicly known captivity of over 50 personnel from the American Embassy in Tehran.

As a matter of fact, it is quite a competent movie all around, with the actors, director (Pakula, All the President's Men), and screenwriter (Pierson, Cool Hand Luke) all turning in A-grade work., except for John Williams (The Witches of Eastwick, Indiana Jones and the Temple of Doom) annoying and repetitive score.