Sentences with phrase «with credited screenwriter»

He eventually left the FBI over «mismanagement,» but, assisted on the script with credited screenwriter and director Daniel Ragussis, so authenticity shouldn't be an issue for this new Daniel Radcliffe movie.

Not exact matches

Spielberg — along with the screenwriter Zak Penn («X-Men: The Last Stand,» «Last Action Hero») and Cline (who is also a credited screenwriter)-- creates an event film that has to be seen on a big screen to be fully appreciated.

Credit screenwriter Steve Kloves, who wrote every script but that of Order of the Phoenix, with judicious pruning and a knowledge of the epic's internal pressure points, and the technical crew headed by production designer Stuart Craig for visualizing the landscape of Hogwarts and beyond with such lavish, meticulous creativity.

Apparently none of the four credited screenwriters could come up with much besides Pitt going here and running from zombies and there and running from zombies and somewhere else and running from zombies.

Although the script is credited to screenwriters Jon Lucas and Scott Moore (the team behind the dismal Four Christmases and Ghosts of Girlfriends Past), The Hangover is consistent with the director's previous frat - boy comedy hits.

The screenplay by Rhett Reese, Paul Wernick, and Reynolds simultaneously want us to take this development seriously — giving us multiple scenes of Wade trying to reunite with Vanessa in the afterlife — and to laugh at it — giving us a James Bond - like credit sequence that calls the screenwriters «the real villains,» after offering a series of tongue - in - cheek statements of disbelief about what has transpired.

Having assembled a talented cast, and nabbing international star Mads Mikkelsen as his lead, Arcel, whose biggest credit is screenwriter of the original 2009 version of The Girl with the Dragon Tattoo, casts his name as a notable up and comer with this latest, an impeccable piece in its own right.

This haunting first feature by David Veloz, one of the screenwriters credited with «Natural Born Killers,» sees all the paradoxes in Jerry's situation, and all the rich potential for destruction.

For the first half hour or so, writer / director David Veloz (one of the screenwriters credited on Natural Born Killers) strains unsuccessfully to impress us with fashionable non-continuity edits and some clipped dialogue that aspires to be taken as sardonic humor.

Tough stares and words await, very much of a piece with screenwriter Diablo Cody's earlier credits, especially her underrated comedy «Young Adult».

Though most of the cast returns, as well as the screenwriters of the first film, Rhett Reese and Paul Wernick, with Ryan Reynolds also snagging a writing credit, Deadpool 2 recruited David Leitch (one half of John Wick's directorial team) to replace Tim Miller, and the change works.

Though credit is usually clearly given to the screenwriters most prominently responsible for the film's script, there's usually a few big name writers who spend a short time with a script giving it final touch ups before calling it complete.

Director Lee Unkrich («Toy Story 3») and screenwriters Adrian Molina (also a co-director) and Matthew Aldrich (who share story credit with Unkrich and Jason Katz) create a vibrant afterlife, brimming with color and light and music.

Tough stares and words await, very much of a piece with screenwriter Diablo Cody's earlier credits, especially the underrated Young Adult, to which this feels a similarly arrested cousin.

At least part of the credit belongs to screenwriter Diablo Cody, who seems to have set out to write a greatest - hits Jonathan Demme movie — complete with full - length live musical numbers, kitsch décor, and a wedding — while taking another go at the basic premise of her script for Young Adult: the story of a nobody returning to nowhere.

Ex Machina helmer Alex Garland also carries clout with cinephiles thanks to screenwriter credits on such Danny Boyle faves as The Beach (he penned the novel), zombie pic 28 Days Later and Sunshine.

That it still manages to be entertaining despite looking, sounding and feeling exactly like the original film is to the great credit of director Danny Boyle, with slightly less credit to screenwriter John Hodge for reasons which will soon become apparent.

Directed by Seth Rogen and Evan Goldberg, who also produce and share story credit with screenwriter Dan Sterling, the satire vowed to tell the story of two journalists recruited by the CIA to use an upcoming interview opportunity to assassinate North Korean dictator Kim Jong - un.

Lee, whose most recent credit includes the screenplay for A Beautiful Lie about crime novelist Patricia Highsmith, recently attended the Sundance Institute Screenwriters Intensive and spoke with us about her creative origins, inspiration culled from the Hong Kong New Wave, and how she hopes to balance the scales when it comes to women on screen.

Along the way, we touch on the abandoned film project that Lee was working on with screenwriter Michael Arndt, how The Book Of Life affected this production, the evolution of the idea from the initial spark to the finished film, how Adrian Molina got involved in the project, how Lee Unkrich went from editor to director and how he edits his own films, how Darla got a credit as «Digital Angel» on the original Toy Story, hiding easter eggs in an international setting, and working with Michael Giacchino.

So we're really rather glad that Frank Miller, otherwise known in the screenwriting world for the «Robocop» sequels and for gifting other screenwriters with comic book fodder in «Elektra,» «Sin City,» «300» and his gritty take on Batman, chose «The Spirit» as his solo directorial debut (he's credited as co-director with Robert Rodriguez on «Sin City» but we believe that even less now having seen what he did when left to his own devices).

«With several credited screenwriters on the final product, director Nikolaj Arcel's movie looks and feels like a series of cautious, nervous compromises and expository panics... Is the movie good enough to do what it's designed to do?

The movie reunites Butler with Christian Gudegast, who was among the phalanx of credited screenwriters on London Has Fallen and now makes his directorial debut.

In fact, I'm pretty sure the end credits list him simply as «screenwriter» along with Docter and Peterson.

Executive Producers Steven Spielberg and Oprah Winfrey clearly understood the vision of director Lasse Hallstrom (whose impressive credits include «The Cider House Rules», «Chocolat» and «Salmon Fishing in the Yemen») and screenwriter Steven Knight (who's having a fantastic year with indie gem «Locke» and now this winner).

Cat People was the first project he had not written himself, a script that had been developed by other directors, and while he had screenwriter Alan Ormsby significantly rework the script with his own ideas, Schrader took no screen credit for it.

The screenwriters, along with directors Phil Lord and Christopher Miller, are in it for the long haul — from the chief's speech to an end - credits sequence that imagines this series some 30 sequels into the future, with each successive one making a flimsier and more ridiculous excuse to get these two characters into the same shenanigans over and over again.

Screenwriters Rhett Reese and Paul Wernick have great writing credits to their name with Deadpool and Zombieland, which surprises me due to the basic nature of this film in comparison.

To Campbell's credit, the film has some impressive action sequences, but it's ultimately the flimsy and derivative story by Robert King, screenwriter for such flops as CUTTHROAT ISLAND and RED CORNER, that handcuffs Campbell with material that could never get off the ground in the first place.

Screenwriter Jessica Postigo Paquette and director Harald Zwart - whose credits include Agent Cody Banks, The Pink Panther 2 and The Karate Kid (2010)- appear to have delivered a competent, if unremarkable, YA adaptation, complete with the standard plot introduction to a fantasy universe and respectable visual style.

Forster doesn't get a lot of help with the plot, which constantly shifts tones and lacks cohesion due in no small part to the film's massive rewrites — four screenwriters (including Damon Lindelof, who botched last year's underwhelming Prometheus) are credited and you get a sense of the confusion.

Sounds great on paper, and I would probably be less critical if this wasn't a John Woo movie, but the result is disappointing, with an underdeveloped script and characterizations (there are seven credited screenwriters!)

He even shares writing credit with returning Deadpool screenwriters Rhett Reese and Paul Wernick and continues to go out all out in his efforts to market Deadpool 2 ahead of its release.

At its best, the story (credited to five writers, including screenwriter Meg LeFauve) evokes Jack London, but more often it feels like the proverbial camel — the horse designed by committee — with downright weird choices like a Western - themed midsection featuring Tyrannosaurus ranchers (most notably Sam Elliott) right out of City Slickers.

Both brilliant and dumb, both impressive and disappointing, credit screenwriters Emmerich (Godzilla, The Day After Tomorrow) and Devlin for having wonderful ideas despite the lack of talent to follow through with the execution.

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.

To their credit, director Wes Ball and screenwriter T.S. Nowlin - having worked on the entire franchise together - are able to deliver a trilogy capper that is thematically and tonally in line with the overall series.

Credit newcomer screenwriters Merryman and Newman for taking chances with the dialogue and making potentially stale, awkward moments sizzle.

With a screenplay that might have turned into the brainchild of sub-committee (Christopher McQuarrie, Jez Butterworth and John - Henry Butterworth are all credited screenwriters), it's a wonder that the plot is as airtight as it is.

Like screenwriter Andrew Kevin Walker's first major film effort, «Seven,» this one will leave you surprisingly giddy with anticipation at whatever seedy horror is around the corner — a credit to its style, sense of humor, and engagingly eccentric ensemble.

Finally, «Good Samaritan» (4:28) focuses on the story and characters, with screenwriter Aimee Lagos, picking up her second feature credit, leading the way.

Released from the shackles of an origin story, screenwriters Roberto Orci, Alex Kurtzman and Jeff Pinkner (with an additional screen story credit for James Vanderbilt of

It's no coincidence that this film features the same screenwriter, Kevin Williamson (Scream 2, The Faculty), who has been given far too much credit for doing an adequate job in Scream, but he shows he's vastly overrated with this tired, derivative film.

Now comes «Deadpool 2,» and Reynolds is credited as a screenwriter, along with the original's screenwriters, Rhett Reese and Paul Wernick.

Despite the palpable electricity between McQueen and Dunaway, the original's romance felt rushed and therefore somewhat forced; here, screenwriter Leslie Dixon (who shares screenplay credit with Kurt Wimmer, who, in a unique arrangement, handled only the action scenes) fleshes out the love story, showing how their basic desire develops into real affection.

Marshall, along with screenwriter Bill Condon (The Devil and Daniel Webster, Gods and Monsters) deserve a lot of credit for ably adapting the movie to the screen.

It's a bit of a mystery how screenwriter Justin Marks, whose two previous feature scripts were for a TV movie called Rewind and Street Fighter: The Legend of Chun - Li, got the job and didn't even have to share credit with anyone else.

Nicole Perlman & Chris McCoy Joss Whedon and Shane Black aside, Marvel aren't known for hiring big - names screenwriters, but their picks for «Guardians of the Galaxy» are bold even by their standards, with two scribes who don't have a single produced credit between them.

His satirical - absurdist sensibilities are abundantly visible on You Don't Mess With The Zohan, where he's one of three credited screenwriters, and gloriously glimpsed in the «Dunkaccino» scene of Jack And Jill, a bad movie for which he is not a credited screenwriter, but does receive a songwriting credit on the fake Al Pacino - starring Dunkin' Donuts ad that is one of the movie's few flashes of demented inspiration.

He wrote this film with two other credited screenwriters, Gabriel Dowrick and Steven Elder, and while the dialogue isn't exactly Mametian — or Schwarzeneggerian, for that matter — he makes himself a noble hero and keeps the emoting mostly within his limited range.