Sentences with phrase «than the script from»

Not exact matches

Rather than expressing sympathy or contrition, Schenk says, the Express Scripts representatives complained that the company wasn't getting enough mail - order prescriptions from Meridian.

Such risks and uncertainties include, but are not limited to: our ability to achieve our financial, strategic and operational plans or initiatives; our ability to predict and manage medical costs and price effectively and develop and maintain good relationships with physicians, hospitals and other health care providers; the impact of modifications to our operations and processes; our ability to identify potential strategic acquisitions or transactions and realize the expected benefits of such transactions, including with respect to the Merger; the substantial level of government regulation over our business and the potential effects of new laws or regulations or changes in existing laws or regulations; the outcome of litigation, regulatory audits, investigations, actions and / or guaranty fund assessments; uncertainties surrounding participation in government - sponsored programs such as Medicare; the effectiveness and security of our information technology and other business systems; unfavorable industry, economic or political conditions, including foreign currency movements; acts of war, terrorism, natural disasters or pandemics; our ability to obtain shareholder or regulatory approvals required for the Merger or the requirement to accept conditions that could reduce the anticipated benefits of the Merger as a condition to obtaining regulatory approvals; a longer time than anticipated to consummate the proposed Merger; problems regarding the successful integration of the businesses of Express Scripts and Cigna; unexpected costs regarding the proposed Merger; diversion of management's attention from ongoing business operations and opportunities during the pendency of the Merger; potential litigation associated with the proposed Merger; the ability to retain key personnel; the availability of financing, including relating to the proposed Merger; effects on the businesses as a result of uncertainty surrounding the proposed Merger; as well as more specific risks and uncertainties discussed in our most recent report on Form 10 - K and subsequent reports on Forms 10 - Q and 8 - K available on the Investor Relations section of www.cigna.com as well as on Express Scripts» most recent report on Form 10 - K and subsequent reports on Forms 10 - Q and 8 - K available on the Investor Relations section of www.express-scripts.com.

While the logo script remains relatively unchanged, it now appears against a sun as it rises behind a farmer's field — a real departure from the previous black box logo and the first major design change for the company in more than 50 years.

You've said that interpreting the scriptures is more like performing the script of a play than constructing history from fragmentary evidence.

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.

i might aswell recite the film script from hellraiser 2 bloody cenobytes are more effective than this lot

But the script accuses Higgins of being «so detached from reality that while families in New York are forced to pay more than $ 3.70 a gallon, Higgins has been in Washington supporting big - government policies that lead to higher gas prices and restrain the production of American - made energy.»

This is very different than most first dates where people ask questions they think they should, like reading from a script.

When you finally get a response from their advanced trust and security team, it's days later and nothing more than some scripted canned answer which doesn't address your concerns.

Much of the awkwardness of a first date stems from people sticking to a stuffy script rather than letting the conversation flow of its own accord.

Rather than repeating the same answer over and over in blog comments and private support correspondence, we decided to get one definite explanation about the issue, right from developers of the SkaDate dating script.

The fault falls with the screenplay, penned by no less than three writers — Sean Anders (co - writer / director of «Sex Drive,» a long way from home), John Morris (who co-wrote «Sex Drive,» «Hot Tub Time Machine» and «She's Out of My League» with Anders), and Jared Stern (who contributed «additional script materials» to «Bolt» and «The Princess and the Frog «-RRB-.

Just as the Julia Roberts fairy tale Pretty Woman morphed from something, in its script stage, dark and harrowing to, on the screen, something sweet and cheery, this could - have - been foray into either the seamier side of life or the less - than - squalid but more - than - ordinary steers clear of ever getting near the truly treacherous.

We hear from Spielberg, Martin Scorsese, several still - awed costars, one of Mifune's sons, Kurosawa's script supervisor, and a film sword master identified as «killed by Mifune more than a hundred times.»

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

Even in Refn's and Hubert Selby Jr.'s script, this film is just so blasted limp, and from a directorial stance, Refn makes pacing problems all the worse with a meditative atmosphere which is rarely effective, primarily carrying dead air which is inspired by a quiet sobriety that distances and bores more than anything.

Which is only to say that «Shrek the Third,» directed by Chris Miller and Raman Hui from a script with a half - dozen credited begetters, already feels less like a children's movie than either of its predecessors.

But as ribald and rambunctious as Game Night gets, Perez's script and much of its comedy comes from a place of love rather than spite.

The script comes from Zach Helm (Stranger Than Fiction), This American Life's Ira Glass is on board as a producer, and the cast features Paul Rudd, Owen Wilson, Kristen Wiig, and Christopher Walken.

For all its sincere intentions, Kruishoop's script feels cobbled together from newspaper headlines and bits of other movies rather than real, lived experience.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

The script, credited to Reynolds, Rhett Reese and Paul Wernick, finds the mutant Deadpool meandering his way to the X-Mansion and joining various X-Men members — including Domino (Zazie Beetz) and Colossus (computer effects plus the voice of Stefan Kapičić)-- as they try to protect an alienated, rebellious teen mutant called Firefist (Julian Dennison) from assassination by the Terminator, er Looper, er mercenary - from - the - future Matthew Cable (Josh Brolin, aka Young Nick Nolte Returned, playing his second Marvel character in less than a month).

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

Director Stanley Kubrick, working from a script cowritten with Arthur C. Clarke, has infused 2001: A Space Odyssey with a continuously striking visual sensibility that remains a highlight from start to finish, as the filmmaker suffuses the proceedings with one absolutely astonishing set - piece after another - with, for example, Dave's gravity - defying jog within the spacecraft's interior nothing less than jaw - dropping in its impact.

The script is particularly weak, being more concerned with moving from one joke to the next via predictable plot points than it is about developing the characters and moving our fantasy world on a little bit.

Far from Heaven is indeed a great movie because it has such high aspirations - a movie from 2002 that dares to style itself after a 50's drama and to do so via (gasp) a subtle script rather than relying on special effects and things blowing up etc..

However, there needs to be some work done in the custom experiences along with some coaching for the sportscasters to sound a lot more realistic and sincere rather than reading from a script.

Filmmaker Alejandro Amenábar - working from a script cowritten with Mateo Gil - has infused Agora with an unapologetically old - fashioned sensibility that's clearly meant to evoke the larger - than - life epics of yore, although the emphasis on countless underwhelming elements ensures that the movie remains terminally uninvolving virtually from start to finish.

For me to say that a director has «a style» isn't a value - neutral statement, it means that the director's work is visually and - perhaps more importantly since it distinguishes one filmmaker's work from the next in ways that are even more decisive than the visual - * rhythmically * distinct from what I would imagine from the direction merely being a straightforward presentation of what's in the script.

But even those coming in cold will know what's going to happen one step ahead, because the movie has been constructed from a dull calculus based on commodities exchange (Star X + Star Y = Project Z) rather than a freewheeling script based on wit.

Baldwin makes John a likable guy who clearly adores his wife and, with some help from the script, is more complex and nuanced than such a brief synopsis would suggest.

The tone certainly seems to be more serious than the Pirates movies, and if any of the supernatural elements from earlier script drafts remain, they're played down in the promo, but there's plenty of big - scale action, mostly on - rails, to be seen.

Infernal Affairs, a 2002 gangster film from the directing team of Andrew Lau (aka Lau Wai - keung) and Alan Mak, was less a return to form than a new direction: an ingeniously scripted tale of cop and gangsters featuring the top talent of the Hong Kong film industry and directed with a dramatic intensity and gritty realism that had been absent from most recent Hong Kong crime films.

It just suffers from B - list actors, a less - than - inspired director, an old fashioned script, and a lack of fresh ideas.

In order to qualify as an international narrative feature film, the submitted project must be either scripted or improvisational fiction, and more than half of the project's financing must originate from outside of the United States.

It's an interesting spree — strewn with cameos from Jake Tapper, Rudy Giuliani, Bill Richardson and more — and Nolte seems to make more of the role than the scripts offer.

But when least expected, love — and fate — stumbles in... There's such rough beauty to the film, such tenderness, all expressed far more richly through images (top work from cinematographer Joshua James Richards) than in its very spare script.

In reality, it's a terrific piece that gets most of its juice from director John Michael McDonagh's quip - packed script and Gleeson's sensational turn as a profane copper who's more intelligent than he appears.

Working from a tight, uncompromisingly bleak script by Jonathan Bernstein (The Spy Next Door) and James Greer (Just My Luck), the director follows up last summer's Logan Lucky with another genre - bending, self - financed effort that has more going on just underneath the surface than initially meets the eye.

The story could have been a recipe for cheeseball schmaltz, but with a script from Diablo Cody (Juno) and direction from Young Adult director Jason Reitman, Tully is a much darker and incisive story than I anticipated.

The directors, Anthony and Joe Russo, working from a script by the crack team of Christopher Markus and Stephen McFeely (who wrote their two «Captain America» sequels), are far more stylish and exacting filmmakers than Joss Whedon, director of the first two «Avengers» films.

It's amusing to see the chaos of a wedding weekend in motion, but the script bites off more than it can chew, indulging nearly every actor with some form of subplot that takes attention away from the saga of Jason and Sabrina.

The mean - spirited tone of script feels like it's coming from a position of a person with an axe to grind rather than a historian searching for the truth or offering a alternative theory of events.

Pellington directed from a script by Stuart Ross Fink, and his previous work includes more music videos than I can list, the feature films ARLINGTON ROAD and HENRY POOLE IS HERE, as well as bringing both UNITED STATES OF POETRY and BLINDSPOT to television.

Considerably more is made of the film's debt to John Ford, specifically The Searchers (a debt underscored in an alternate ending that apes its famous bookend shots), than to the graphic novel series on which Goodman's script is allegedly based, and we learn that the phrase «brutal functionism» was coined to describe the movie's props, including a blade fashioned from Damascus steel that took 100 hours to sculpt for a few seconds of screentime.

A.O. Scott, The New York Times: «This Fantastic Four, directed by Josh Trank from a script he wrote with Simon Kinberg and Jeremy Slater, feels less like a tale of superhero beginnings than like a very long precredit opening sequence.»

Moving away from the horror elements of The Terminator, Terminator 2: Judgment Day is an all - out war of car chases, fight scenes, shoot outs, nuclear explosions and a phenomenal, if gratuitous set piece where the Terminator blows up numerous police cars with a machine gun for no other reason than the script required an action beat.

It's entirely possible to want to question or discount the early moments of A Quiet Passion as being just the sort of film that it looks like it should be, but the script and an excellent performance from Catherine Bailey makes it clear Davies is doing something a hell of a lot more interesting than expectations.

We'll be hearing again from all of them, though it's fair to say that the directing is rather less sure - footed than the script.

One of the best things that came from having my script performed before a live audience with professional actors, was that it made me enthusiastic about the work again, and wanting more than ever before to see it manifested as a completed film.