Sentences with phrase «uncredited script»

The dialogue, by three writers (David Franzoni, John Logan, and William Nicholson)-- and God knows how many other uncredited script doctors — seems to have been stolen from all the worst parts of a couple of hundred recent movies.

There were several uncredited script writers who also worked on X-Men, including Buffy creator Joss Whedon.

Not exact matches

Longtime Pollack collaborator, the writer David Rayfiel, in an uncredited role polishes up the script and tosses in his now much used line from other Pollack films starting with The Slender Thread (1965), as Penn tells Kidman: «Not getting caught in a lie is thought of in the same way as telling the truth.»

However, don't expect to see Kaufman's name in the credits on this, because script polishing like this usually is not publicized and is uncredited.

The direction by David Leitch (who was, indeed, an uncredited co-director of John Wick) is brisk and fluid, and the script, which Reynolds co-wrote with Deadpool scribes Rhett Reese and Paul Wernick is, as noted, a substantial upgrade on that earlier effort.

Screenwriter Daniel Casey wrote the script, and he's got sci - fi chops to spare: he did an uncredited rewrite on «10 Cloverfield Lane» and is also working on Chad Stahelski's «Kill or Be Killed,» reportedly about a murderous demon.

Action cinematographer Jan de Bont (Twister, The Haunting) skillfully directs for the first time, making what by all measurements is a terrible screenplay by Graham Yost (Mission to Mars, The Last Castle — reportedly, an uncredited Joss Whedon punched up the script) into one of the better pure action movies of its era, even if it is one of the dumbest.

It's like an anniversary clips show for a long - in - the - tooth sitcom, filmed with the same sort of production values as a backyard porno and scripted (by an uncredited writer) with almost exactly the same kind of ear.

Apollo 13 (Ron Howard, 1995) Among the most impressive feats of this Ron Howard tour de force is the way that he took an incredibly well - documented true story where everyone knows the ending and made it into such an intensely dramatic nail - biter — thanks, in part, to some reportedly extensive script doctoring by an uncredited John Sayles.

Written by Earl W. Wallace and William Kelley, with Weir's uncredited work on the script, shot by the Australian cinematographer John Seale, who would later win an Oscar for his work on The English Patient, with the French composer Maurice Jarre's (Doctor Zhivago, The Train, A Passage to India) score and Thom Noble's (Red Dawn, Thelma & Louise) editing, and with the strong supporting roles of Danny Glover, Josef Sommer, Alexander Godunov and Lukas Haas, Witness is a pleasure to go back to even thirty - two years after its release.

In 2001, he works with his idols De Niro and Brando in «The Score,» is Smoochy the Rhino in Danny DeVito's «Death to Smoochy,» portrays Nelson Rockfeller (and is an uncredited contributor to the script) in «Frida.»

The script by del Toro and Matthew Robbins — and, based on the advance material at the time, Steven Soderbergh and John Sayles in uncredited assists — manages to cleverly incorporate elements from mad - scientist movies, giant - insect flicks and traditional monster - on - the - loose tales, and the mere thought of roach - like critters the size of Sylvester Stallone will unnerve anyone with even a hint of a bug phobia.

Among the topics addressed are alterations made (Michael Gambon was deleted from the film), the script contributions of the uncredited David Rabe, casting, the cast's chemistry, struggling to earn an R rating, the real Westies gang being dramatized, the difficulties such a «slow burn» film would face being made today (he repeatedly laments the current state of cinema), his influences, the crime genre, how U2 nearly scored the film, how Ennio Morricone actually did score the film, and Joanou's disheartening personal career trajectory.

Though Cannon did uncredited rewrites on the script (which is attributed to Brian and Jim Kehoe), Blockers ends up salting its own game by focusing on out - of - touch adults who aren't just struggling to deal with their daughters losing their virginity, but can't handle the entire millennial generation.

(Payne said he did some uncredited work on the script.

Frank Nugent, Oscar Millard and an uncredited Ben Hecht wrote the script from a Chester Erskine story.

The script, by Christopher Markus and Stephen McFeeley (with a light, uncredited polish by Avengers director Joss Whedon), is sharp enough to remain just this side of hokey.