Sentences with phrase «taking dramatic license»

Was Daisey justified in taking dramatic license, in spite of being on a news program rather than a stage?

The sports - themed picture takes no dramatic license (right «down to the costumes») in bringing audiences the true - life tale of sports agent J.B. Bernstein's (played by Job Hamm)... [Read more...]

Affleck's film takes dramatic license with the events to focus predominantly on the CIA's involvement, in particular the work done by disguise and extraction expert Tony Mendez, whom Affleck also portrays.

Based on a Korean graphic novel series by Hyung Min - woo, the film has taken dramatic license with its source material, changing the baddies from fallen angels to vampires.

Ben Affleck has stated that, «Because we say that it's based on a true story, rather than this is a true story -LSB-...] we're allowed to take some dramatic license.»

No doubt director Doug Liman (The Bourne Identity) and screenwriters Jez and John Butterworth took some dramatic license in telling the story.

The film takes dramatic license with the truth and cushions the anguish with over-emoting melodramatic music, yet the acting is deeply felt and the redemptive message of Lomax's memoir is intact.

Inspired by Krystyna Chiger's memoir «The Girl in the Green Sweater» with references to Martin Gilbert's «The Righteous» and Robert Marshall's «In the Sewers of Lvov,» Canadian screenwriter David F. Shamoon takes dramatic license to fictionalize Socha's inner turmoil.

Not exact matches

With allowances for dramatic license, you take his point.

There was no need to take so much dramatic license.

While some dramatic license has been taken with the facts (the role of The Times has been downplayed and that of The Post boosted), the crux of the story remains — that for a democracy to not just survive but thrive, a free and robust press is essential.

Of course, this is the type of fact - based film that probably would have benefited from taking more dramatic license with the material, because some of the sensational events that occur (including one character's supposed death) are presented so matter - of - factly that it sucks the fun out of the movie.

There are some liberties taken with the stories, partly because it's distilling four Gospels into one narrative but also partly because dramatic license needs to be taken to make a miniseries work.

I admire Anthony Hopkins and Helen Mirren as actors, but there were dramatic licenses taken in the film which I didn't agree with.

In fact, the few dramatic licenses the film takes (detailed in this well - researched Salon.com article to be read after viewing) seem unnecessary but somewhat forgivable.

While I do think, from a story standpoint, it's a shame that Garrigan wasn't limited to being a mere witness to the events of the Amin era, as he was portrayed more in the book, instead of a constant catalyst for Amin's rage, considering he is a fictional character, we'll just chalk up his constant missteps as dramatic license taken by the screenwriters in drawing out Amin to commit some of the most heinous acts of torture shown in film this side of a Mel Gibson directorial effort.

This is the most charismatic role in the film (and real life), yet also the role that may have the most dramatic license taken in the film.

Of course, Berg took a lot of dramatic license with said character, and the real Don Billingsley sets the record straight regarding his father's bullying in the best and last featurette, Jim Bacon's «The Story of the 1988 Permian Panthers» (24 mins.).

This is a feature film and not a documentary (on - screen notes at the end explain that while the film is based on meticulous research, some dramatic license was by necessity taken), but Bigelow has a way of making scripted drama feel like an utterly gripping newsreel.

The real Jada Pinkett was the first but probably won't be the last person portrayed in the film to take issue with its dramatic license.

Some dramatic license has been taken to try to make the film more exciting, but at it's heart you've most likely heard this story before and will probably be bored despite the talent involved.

Though the credits confess to some fictionalization, little dramatic license seems to have been taken for entertainment purposes.

He takes extreme dramatic license with two extended soliloquies: Donald Sutherland as «X» (Fletcher Prouty) and Kevin Costner as Garrison in the courtroom.

Some of these were forced adaptations — like Ocarina of Time's shift to three dimensions — and some took dramatic artistic license — Wind Waker's cel - shaded aesthetic.