Sentences with phrase «scripted dialogue on»

The only drawback to replaying missions is that you'll have to listen to the same scripted dialogue on certain occasions.

Not exact matches

So she uses a purchased script for a plot outline, and then lets the kids create their own characters and dialogue, relying on improvisation to shake out the good ideas.

«Our current political system is based too much on scripted messages and doesn't give many opportunities for this kind of honest dialogue.»

You get what she's after — the rare indie comedy - drama to probe the subtext of a married woman's emotions — but her script puts the subtext on top, in the dialogue, where it turns obvious.

With a a messy script full of expository dialogue, confusing motivations and plot holes, this uninteresting and generic movie is also only able to move forward by relying on stupid characters who are no more a killer elite than a bunch of incompetent amateurs.

Julian Mitchell's script tends to drag its feet, if not cut short a lot of expository depth, but it keeps consistent on razor - sharp dialogue, occasionally broken up by witty humor that puts a bit of kick in the slower spots, about as much as highlights in Brian Gilbert's direction which break up slow spells and sentimentality with occasions of color and effective thoughtfulness.

Unfortunately the show is just kinda dumb after that... the scripted dialogue ranges from generic to awful; the characters are pantomimes, you know exactly whether they're good or bad right up front, and the show lacks any sort of organic development or growth, you just don't get into it like you would on a better created and wriiten show.everything is so predictable that by the time big jim kills his nth person it's just sort of «meh whatever» time.

An impeccably directed character study with excellent performances and a top - notch script mainly sustained on a great dialogue, offering us an insightful look at the creation of the most successful social network by a misanthropic young man who was unable to keep his only friend.

This movie is a mixed bag on one side is Kevin Hart mostly improvising which give most of, if not all of the film's funny dialogue, he also shares good chemistry with Ice Cube, on the other side the scripted jokes, are most of the time well lame, this fun to watch now than most of the movies are ****

Rodriguez does leave a certain creative stamp on the movie; I suspect he took a whack at the script, which bears evidence of his trademark pithy dialogue.

He'd been working on the script for eight years and had been inspired to move into directing by his desire to make sure it was done right («I suddenly realized that I'd written a bunch of descriptions without much dialogue to go along with it.

Thoughtless inconsistencies riddle the script (also from Paquet - Brenner) who fails to match up the images he's presenting on screen with the ham - strung dialogue he's forced his able cast into saying.

Sorkin's script, which is based on the real - life Molly's memoir, has way too much dialogue and too many voice - overs for the genre.

Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar - winning cinematographer James Wong Howe, this cynical masterpiece is accompanied on the Channel by a 1986 documentary about Mackendrick, a 1973 documentary about Howe, and a video interview with film critic and historian Neal Gabler.

(In one of many on - the - nose lines of dialogue in William Monahan's script, Amy later observes about Jim, «You're one of those guys who started out with no problems at all, and now you have all of them.»)

The script goes really light on dialogue, especially in the first half of the movie.

There are occasional bursts of well - observed comedy in Comet «s largely insipid script but they are too few between the dreary dialogue and occasional badly judged observations on subjects such as rape and eating disorders.

From the tightly scripted dialogue — by turn sharp, harrowing & funny and without an ounce excess on its bones — to the beautifully melancholic score by Carter Burwell and the powerhouse performances from a cast who've never been better, I fell in love with the entire movie, with every single breath - taking, nauseating, alarming, disturbing, uplifting scene, a fact made slightly more unusual given that I've tried — and failed on repeated occasions — to watch and enjoy Martin McDonagh's back catalogue.

«So I have to make this for under $ 20 million, we have to cover a life in three long sequences with six recurring characters, it's a suffocating script that's wall - to - wall dialogue, and there's no indication on how to do it?»

In his first directorial duty since «Into the Wild» (2007), Penn, recognized as a human - rights activist in Haiti, relies on Erin Dignam's shallow, preachy script, filled with whispered, often incoherent dialogue.

I need hardly point out that the script is terrible, both in terms of dialogue and structure, the acting is submerged in ineptitude and borders on pushing the progress of the art back about ten years, and the production values are as imaginative and convincing as those in a second - rate amusement park ride.

There's no way you could convince me that this movie started rolling film with a completed script, as every character, scenario, and line of dialogue feels entirely random, and most of them go on interminably longer than they need to.

Most of the scripts chosen for live reads are oriented very much around character and dialogue; the event is just a bunch of people sitting on stage, after all.

Paul Thomas Anderson for teaching me that it's ALL about the script and if you have the right actors directors don't have to do anything on set but be a fan, Lumet for his films and his book, a young directors» must read, Coppola for his courage in filmmaking, Steven Soderberg for refusing to ever be put in a box and pushing the form as far as he can, Kathryn Bigelow for giving masterclasses in action, James Cameron for Terminator 2 and prove big budget cinema can still be perfect cinema, Sean Penn for bringing his acting chops to directing, David Mamet for his scripts and his dialogue, Nolan for having more heart than most people seem to give him credit for (Memento, Rises, Inception and Interstellar all made me cry.)

Building a script, based on journals of shipwreck victims, William Broyles Jr. creates a skillful work in which events and emotions are brought to life with sparse dialogue and little music; the first melodic sound is heard 90 minutes into the story.

Worse than that stale premise, is the script's stilted dialogue, which frequently sounds unnatural such as when Sheeni asks Nick to put some suntan lotion on her back: with «Would you mind applying this to my exposed areas?»

Kormákur inexplicably attracts one of the most impressive casts of the year — actually, it does make sense: he needed a talented group to elevate a dire script, people who could lend gravitas to dialogue kindergarten kids might have written — to flesh out this bird's eye view on a disastrous weekend on the mountain.

The reason why most who worked on the first film did not return is rumored to be due to inflexibility in script changes, and their fears appear to be justified, as what ends up appearing on screen is shockingly poor, with nothing in the way of character development, plot cohesiveness, or passable dialogue.

If you watch the film, look at each scene, and listen to the dialogue, Fantastic Four was terrible from Trank's awful script on.

The script is more like an outline, with the actors creating the dialogue on the spot, and the first take usually... Read More»

Supported by fine performances and the year's sharpest script, CAPTAIN FANTASTIC awakens an inner dialogue in audiences about the way we live our lives based on societal influences.

Supported by fine performances (both big and small) and the year's sharpest script, CAPTAIN FANTASTIC awakens an inner dialogue in audiences about the way we live our lives based on societal influences.

He does have a few good scenes in «The Gambler», but an unfocused script that relies way too much on dialogue results in «The Gambler» being one of the holiday season's weakest releases.

On the whole, Haneke is pretty candid, discussing some of his bedrock rules for filmmaking (never deviate from the script, allow no unmotivated camera movement, put important dialogue off screen).

Worst - case scenario: The initial trailer for the film relies more on scatological humor — one prominent gag involves a music box being stuck in a supporting character's butt — than sparkling dialogue, raising the question of whether Fey and Poehler's chemistry is enough to overcome even the dumbest script.

He agreed to purchase the rights for Bong, who started writing the early drafts of the script and enlisting American playwright and screenwriter Kelly Masterson (Before the Devil Knows You're Dead) to work on the English dialogue.

Johnson spent many years sending out his script to anyone he could that would read it, and although most that would read it loved it, none of them were willing to take a chance on such an ambitious screenplay done by an inexperienced director, especially when making the script work with such strange dialogue.

However, on the most part, a crisp script with some great dialogue, helped move the film at a good pace, never stopping it from becoming tedious.

Far more than in their scripts for «Legally Blonde» and «10 Things That I Hate About You,» screenwriters Karen McCullah Lutz and Kirsten Smith reveal a precise ear for dialogue that turns words back on themselves, and especially the sort of talk that young women say to one another in private: In perfect Shelley - talk, she exclaims, «My heart is pounding like a nail!»

But for an incident that took about a minute or two, expanding the story to feature length is a stretch, and Blyskal's script doesn't know where to focus, and features eye - roll inducing, plainly on - the - nose dialogue.

Instead of relying on maudlin music cues and a barrage of heavy - handed dialogue spelling out how its elfin lead is destined to do great things, director Peter Chelsom has faith enough in his script (written by Charles Leavitt) and his cast to allow them to strike emotional chords on their own — and the lead actors, in particular, succeed marvelously.

Heavy on dialogue, this movie's intelligent script pits mathematical theories against personality traits, and questions the definition of mad versus eccentric.

On one hand, the script does include some clever dialogue, good one - liners and smart situations.

Her wordsmith skills land her a job writing scripts for propaganda films that aim to lift morale and instill pride While initially tasked with inventing women's dialogue — dubbed «the slop» — she is soon recruited to take the lead on penning a civilian rescue - mission adventure featuring patriotic twin sisters as heroes.

Similarly, we've spent much of these last few weeks gradually losing assurance that the beautifully realized characters, brisk rising action, incisive dialogue, and political resonance of both Greta Gerwig's script for Lady Bird and Jordan Peele's for Get Out will on their merits be able to stave off Martin McDonagh's work on Three Billboards Outside Ebbing, Missouri.

And the dialogue itself — the thing Crowe made his name on in his great, early films «Say Anything...,» «Jerry Maguire» and «Almost Famous» — so frequently strains for his signature poignancy that it feels like a parody of a Crowe script.

I was quiet, yes, and made sure to direct comments only to the people on either side of me (both of whom I know), but it has been a long while since I've seen a movie that asked for — nay — demanded ridicule for its refusal to admit to its campy premise and instead decides to play its cheap, ineffective thrills, cheesy dialogue, and cliché - ridden script with complete, hopeless sincerity.

As well as testing his ideas over two shorts, Whitfield was in continual back - and - forth with his leads on the dialogue, and the result was a script impressive enough to lure better - known actors such as Jason Isaacs (Lucius Malfoy from the Harry Potter films) and Paprika Steen (Danish veteran of Dogme films Festen and The Idiots) on board.

Although the script encompasses issues of love, life, and death, not much dialogue gets spent on the usual deep discussion associated with such topics.

One can almost feel her projecting to reach the cheap seats and it's likely that the exposition - heavy script, filled with clunky, on - the - nose dialogue, would also work better on stage.