Sentences with phrase «than the scripts offer»

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.

Not exact matches

Still, for older kids and the adults that accompany them, this script offers an engaging twist to the superhero genre and more rounded characters than most animations.

Poorly acted and thinly scripted, Pompeii has nothing more to offer than brilliantly choreographed fight sequences and the spectacle of lava and other objects being flung around in 3D.

But while director Oliver Hirschbiegel («DasExperiment») very effectively takes youdeep inside Nazi Germany's crumbling heart and brings many infamous momentsacutely to life, his film doesn't offer much in the way of new insight.The script is more of a textbook play - by - play than an examination of impulsesand psyches, and while the Hirschbiegel and his cast add those dimensionsthrough their fine work, it seems the only way he could invest the audiencein these events was by seeking out a sympathetic minor character — inthe person of Hitler's young secretary, Traudl Junge (Alexandra Maria Lara)-- and beef up her significance.

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.

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.

Less sharks but better scripted than its almost namesake, Terence Davies» period drama offers more in visual style than it does in emotion.

If it had instead concentrated on how controlling one's emotions requires more strength than resorting to physical outbursts, the script could have offered a much stronger punch.

Victor Frankenstein, similar to the Landis - scripted American Ultra, does offer entertainment value thanks to its erratic design, but ends up being even more disjointed than the latter - seeing as it lacks a solid emotional core to hold the whole thing together.

I personally like a better script than what this film had to offer and the special effects were pretty bad for movie standards these days.

Summary: This epic sequel is a stronger, more emotional and gritty offering than its predecessor that is sadly harboured by some pacing and script issues.

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.

However, the script offers more than just first downs and quarterback sacks.

Included is Sho Kosugi: Martial Arts Legend, a new 21 - minute interview with the actor about him and his career; The Making of Black Eagle, a 36 - minute featurette with Sho Kosugi, director Eric Karson, screenwriter Michael Gonzales, actors Doran Clark, Shane Kosugi, and Dorta Puzio; Tales of Jean - Claude Van Damme, a 19 - minute featurette with many of the same people speaking about their experiences working with Van Damme; The Script and the Screenwriters, a 27 - minute featurette with Michael Gonzales and Eric Karson discussing the film's development; a set of 11 deleted and extended scenes, all of which are in the extended cut and offer up a tiny bit more story and character development more than additional action or carnage; trailers for the film itself, D.O.A.: A Rite of Passage, Attack of the Killer Tomatoes, and Savannah Smiles; a fold - out poster; and a DVD copy of the film, which offers up all of the same extras.

Though it takes about an hour for the interviews to get underway, Morgan's script offers plenty of buildup to the inevitable showdown so that when it finally does arrive, it's even more electrifying than you anticipated.

A sociopath who could have long conversations with Hannibal Lecter and Heath Ledger's Joker (with a sexual ambiguity that would make him seem like an old - fashioned evil - queen character, if the script didn't let Craig defuse that possibility with one line), he's a terrifying opponent in a series that's offered up more than a few stock madmen.

The script — written by director Paul Feig and Katie Dippold — quickly establishes its own wit and style, which offers a different vibe than the 1984 original (which relied in part on the comedic talents of Bill Murray).

His script too often tells rather than shows, relies on the most obvious kind of shorthand to explain Assange's personal baggage, and offers ham - fisted proclamations to drive points home.

As opposed to conventional curriculum, which is focused on explanatory text more than on objects or other primary sources, critical exploration offers no script.

Improvisational theater offers a unique way of approaching relationships — and psychotherapy — that's generous rather than closed, support rather than competitive, organic rather than scripted.