Sentences with phrase «than the script at»

Not exact matches

The company is launching Vice Studios, a «global multi-platform scripted studio» aimed at developing original content that Vice can market around the world after the company signed content deals earlier this year to make its programming available in more than 80 territories by the end of the year.

Mark Merritt, the CEO of Pharmaceutical Care Management Association, the trade association that represents pharmacy benefits managers like Express Scripts, which recently partnered with Imprimis to provide its compounded version of Daraprim at a cheaper cost, made it very clear that he would rather see generic competition than compounded versions.

Glubz also had an entry at the now - defunct skidpaste.org, a site which sought to document the known aliases, addresses and other contact information on young script kids (hence «skid») who fancy themselves much better hackers than they really are.

«The early IMS script trend suggests that Dupixent is ramping at more than double the pace of the successful Otezla launch, and at 2.5 x the rate of PCSK9s, and 4x the rate of recent psoriasis launches of Cosentyx and Taltz,» Porges said.

And everyone — even most broadcasters — agree that the 1988 Presidential candidate «debates» were not debates at all, but a carefully scripted tip - toe of bland questions not being answered by carefully rehearsed candidates, a charade boring rather than enlightening the viewers.

Edward Anhalt, the distinguished screen, writer, who accepted: the award for Becket at that luncheon, commented that he was then working on the script for BoeingBoeing, a sex farce considerably less «religious» than Becket, a fact that created minor uneasiness among the pious present.

Had ex-Giants coach Ben McAdoo simply pulled Manning at halftime from the final few games rather than asked Manning to go along, the current script might be different.

The MoveOn contest requires even less technical ability than video, since anyone with a feel for words can try his or her hand at writing a script.

«We've never had such a high - cost drug for such a large population,» says Brian Henry, a spokesperson at Express Scripts, which manages benefits for more than 3,500 companies.

Even ignoring the twist at the end — which, by the way, is terrible — the script is more of a collection of moments than any kind of through story.

The first film was a huge hit, taking more than eight times its budget at the box office and winning over critics and audiences alike with its intelligent storytelling and witty script.

However, the episodic script and some rather pedestrian direction by David Veloz end up leaving you a lot more comfortable with what you're looking at than common sense would suggest you should be.

I burst out laughing more than once at how stupid the script was.

The sequel, scripted by Michael Green and the original movie's co-writer Hampton Fancher, is set decades after the original, at a time when Earth's environment is in an even worse condition than it was.

Rumored to be more commercial than «Elephant,» the drama that won Van Sant the Palme d'Or and Best Director award at Cannes in 2003, «The Sea of Trees» — which boasts a Black List script by «Buried» scribe Chris Sparling — centers on a suicidal American (McConaughey), who travels to the «suicide forest» at the base of Mount Fuji in Japan with the intention to kill himself.

Final Verdict: Poor character development, an uneven script, but at the end of the day, this is more fun than I expected.

To be sure, this is a better crop than usual, with the magical 3D of Life of Pi and Tony Kushner's script for Lincoln standing out, but for me it wasn't a good year at all, especially because of the virtual disappearance of «film» projection in Montreal.

So the script's a little laboured, but for shere exuberance and adrenaline pumping you don't get better than this unless you're at a rave.

These are possible signs that director Alex Kurtzman is better at producing («Alias,» «Fringe,» the CBS «Hawaii 5 - 0» reboot) than helming a film, but it really feels like script by committee; we need these things to happen... just fit them in somewhere.

The script is nothing special, and it even borders on schmaltzy at times, but there's an honesty to the material (especially the father - son relationship) that some people will connect to more than others.

by Bill Chambers Max Landis follows up his American Ultra script with another action comedy about slick killing machines but abandons the Manchurian Candidate backstory in a grotesquely cynical fashion: When Sam Rockwell throws knives at new girlfriend Anna Kendrick to prove she can catch them, his conviction is based on nothing more substantial than her being the star of this particular show.

These are the things that should have easily been figured out at the script stage before the film was handed over to a weaker director like Chadwick, who basically conveys the story as given to him and doesn't offer much more than that.

We talked about premiering at Sundance, how the project came together, is the movie more scripted than their TV work, their thoughts on VOD, what will be on the DVD / Blu - ray, financing, what's coming up for the three of them, and a lot more.

Credit due too in large to the script also, which meanders around chronology at an easy pace, dealing anecdotes as a means to a thematic narrative rather than the more traditional model excellently lampooned in Walk Hard.

It seems quite obvious at this point that the Russo Brothers were more than happy to comply, seeing as how they went ahead and got Waititi to help develop his characters for their script.

But as I worry (possibly unnecessarily), at this point in time a script with Landis's name on it brings more intrigue than caution.

Director Joe Wright recognizes this and thanks to a sharp script by Anthony McCarten, Darkest Hour is more than just a stoic piece of work that has characters occasionally yelling at each other.

Before we started shooting, I knew Al much better than Chris and I spent a bit more time going over the script at the beginning with Al..

I figured I'd take an in - depth look at both categories, starting with the original scripts, which provide a much broader field than the -LSB-...]

When Community creator and all - around funny guy Dan Harmon was enlisted by Marvel to work on the script for Doctor Strange, the reason seemed obvious at the time: more than likely he was going to infuse the Sorcerer Supreme with a touch of humor.

The Buzz: Statham has made no bones about his desire to inherit the action - hero throne from Bruce Willis, and even if he tends to choose shittier scripts than Willis, he's got the chops — and hell, at least this isn't another «Transporter» sequel.

In fairness, Edgerton is guided by Cooper's hand and Jez Butterworth and Mark Mallouk's script, and like so many other movies set in Bahston, their concept of the provincial dialect boils down to clichés: drop your Rs, speak through your nose at two octaves higher than normal, and communicate primarily by saying «fuck.»

Shamefully lazy in almost every way, you'll find yourself laughing more at the obvious use of old stock Navy footage for the external shots than anything the screenwriters are able to muster in this vapid script.

The narrative does lag the slightest bit at the midpoint when Carl decides to leave LA behind for a quick trip to Miami and the script loses its focus, but as soon as he gets his hands on that food truck and he's back to being a man on a mission, the film takes off with even more momentum than before.

The idea of sending cops undercover at a high school is even more ridiculous now than it was when the TV series aired back in the late 80s, but the fact that the script was penned by Michael Bacall (who co-wrote the awesome «Scott Pilgrim vs. the World») gives me hope that it'll be better than expected.

Her script is full of contrived dialogue, and too many superfluous comedic elements — all of them being way raunchier than need be: At times it seems that Meriwether has a certain admiration of the word «penis» and several of its synonyms, as the film's characters spout the word more than most seasoned porn - stars.

Most scripts actually star the person behind the typewriter, but because they're more adept at tapping keys than fluttering hearts, a more attractive doppelgänger is required.

Working from a brilliantly Pynchon-esque script (writer Earl Mac Rauch took several passes at it, resulting in a 300 - page «bible»), Richter helms the action with the confidence that his story is weirder and wilder than virtually anything else out there.

The script pokes fun at the weak female characters — Abbie Cornish as Farrell's girlfriend, and former Bond girl Olga Kurylenko as Harrelson's less - than - loyal girlfriend.

In Tom Stoppard «s spectacularly good script (I suspect the quality of which has been overlooked because so few film critics have actually read the book), it has a jumping off point that more than any previous take, digs into the themes of the novel — the many forms that love takes, artificial metropolitan life vs. simple pastoral life — and allows the peripheral characters their moment in the sun, while still keeping the running time at around a brisk two hours.

At ninety minutes, Mercurio's script feels like a solid stage adaptation rather than a filmic adaptation.

Of the many thrills that come from interviewing creative people — variously, unknown, ascendant and at the top of their game — there's also the under - discussed flipside: talking with, 1) vapid young «actors» (line - reciters is more like it) who have neither a sense of film history nor an appreciation for their occupational good fortune and, 2) perfectly genial writers and directors who are nonetheless so relentlessly on script — occasionally reciting entire career - checking passages verbatim from press notes no doubt spit - polished into significance by some friendly faction in the dark wings — that you realize they actually have less summary insight or thoughts about several months or years of their own work than you do after 90 to 120 minutes with it.

It's clear right from the get - go that Christopher Cain is in absolutely no hurry to tell this story, as the director has infused The Stone Boy with an almost achingly deliberate pace that does prove effective at establishing the film's very specific locale, admittedly - yet there's little doubt that the laid - back atmosphere, when combined with the uniformly subdued performances and the less - than - eventful nature of Gina Berriault's script, effectively ensures that the viewer's efforts at forming any kind of emotional attachment to the characters fall flat virtually from start to finish.

It's clear, then, that the script's sitcom - level approach to the subject matter fares much better than one might've anticipated, although there's no denying that, at a ludicrously overlong running time of 110 minutes, How to Be Single does peter out to an increasingly palpable degree as it progresses - with, especially, the movie's final third relying far too heavily on hackneyed sequences that are either egregiously padded - out or completely needless (eg a character frantically races to the hospital).

Bantering, arguing or just glaring at each other, they make «The Nice Guys» far more entertaining than it deserves to be; let's hope that, for the inevitable «Nice Guys 2,» somebody gives them the script they deserve.

The themes and ideas lurking at the heart of the filmmaker's script are surprisingly profound, their insidious complexity adding much more to the conversation than a brief sideways glance might lead a potentially interested viewer to initially believe is there.

I'm not sure if I'm more surprised that it took three credited screenwriters to come up with a script this inept than I am that Ramis actually shot film with a script at all.

Though visually enthralling at times, it's ultimately a forgettable experience, due largely to the movie's anemic, exposition - laden script that is offers more set - up than it does pay - off.

The script is nothing special, even bordering on schmaltzy at times, but there's an honesty to the material (especially the father - son relationship) that certain people will connect to more than others.

And while Avrech's script often proves an eye - opening look at the seriously backwards Hasidic community, A Stranger Among Us suffers from an excessively deliberate pace that effective highlights the less - than - engrossing storyline - with Emily and Ariel's burgeoning romance striking all the wrong notes throughout (ie there's just no chemistry between these two disparate figures).