Sentences with phrase «writer of a film like»

If I were the writer of a film like this, I would have made it a comedy and the cop would be completely outrageous and over the top.

Garland has shown time and again a knack for engaging and smart stories as the writer of films like The Beach, 28 Days Later, and Dredd, and Annihilation is a perfect fit for his sensibilities.

Not exact matches

Although the films Alibaba Pictures Group has invested in like So Young (by actress - turned director Zhao Wei, who is also a major shareholder of the company) and Tiny Times (by popular writer Guo Jingming) have recorded remarkable box - office revenues, the company has yet to turn a profit, with a net loss of HK$ 443.54 million for the first half of last year.

I find it fascinating when writers and directors and even producers of films about real people in the Bible read into what the people were like and how they fill in the gaps of the dialog, some I like, others I disagree with, but it allows me to put flesh and blood on their bones.

If you liked the give - and - take between Cary Grant and Rosalind Russell in the 1940 film His Girl Friday, you'd cotton to life around the Lido Beach, N.Y. home of SI reporter Sandy Keenan and her husband, Mike Winerip, a writer for The New York Times.

Let's get together a coalition of those talents — brand strategists, media planners, digital gurus, copy writers and film makers — to figure out what this campaign should look like.

On the one hand, emotional manipulation has always been at the heart of our cultural artefacts; in fact, we have always lauded the best artists, writers, film - makers, composers and the like for their seamless skills in moving us and enlarging our horizons.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

Agee would continue appearing on screen in films like Super, and found success for a number of years as a writer on Jimmy Kimmel Live!

The second ending feels like the film had realised it had nothing to say, and so the writers threw in a bunch of vaguely existential dialogue to compensate.

A prime example of how Hollywood reflected the changing political climate: When Lewis Milestone's film was made, the Soviet Union was an ally but after WWII some of its makers removed their name, while others like writer Lilian Hellman were blacklisted.

However, the film lacks a solid and straight - to - the - point conclusion, and instead gets glued to a vague ending that would make the writers look like they ran out of good - enough ideas.

Much like the kids in this movie who come of age, so too does Robert Kirbyson's skill as a writer - director in his debut film Snowmen.

Like many first - time writer - directors, she packs five films» worth of drama, crises and revelations into one, and often lapses into sitcom triteness.

Combine that with the fact that the film comes from writer / director Jonathan Kasdan, son of iconic Raiders of the Lost Ark and Empire Strikes Back screenwriter Lawrence Kasdan, and this sounds like the kind of film that truly takes off after Sundance.

And while that seemed like a fault, the writers (Christopher Markus and Stephen McFeely) and directors (Joe and Anthony Russo) of the film logically explained why killing a character off would take away from the «tension».

Writer - director Roland Joffé has built a career on narratives of white men in foreign territories, with films like The Killing Fields, The Mission, and City of Joy being notable (and tiresome) examples of a distinctly middlebrow breed of the historical drama that locates subaltern longing through an imperialist lens.

Directed by Chris Sanders (the filmmaker behind «How to Train Your Dragon» and the illustrator who created «Lilo & Stitch «-RRB- and Kirk DeMicco (writer of «Space Chimps» and the upcoming «Hong Kong Phooey» adaptation), one can only assume that if the film takes off like they hope, franchise is in the cards (and when isn't it for the lucrative field of animation?).

Yet the horrific circumstances of his chemical castration and the very real realities of his life as a gay man are sidestepped by the faux thriller set - up of the film, a device that conveniently allows a heterosexual writer like Moore (who's Oscar acceptance speech granted us insight into how his version of Turing lacks any on - screen interiority as a gay man) to touch upon the subject as a clichéd trope.

His latest movie, Baby Driver, is the writer / director's love letter to the great car chase films from the likes of Walter Hill (The Driver), William Friedkin (The French Connection) and George Miller (Mad Max), all driven by a non-stop soundtrack that features both popular and obscure tracks of such diverse genres as rock»n' roll, punk, soul and hip hop.

Like Edmund Halley, who died just a couple of years before seeing his prediction come true about the date when the comet bearing his name would return, the sad note about the film is that Rad (listed as director, producer, writer, editor, composer, production designer and set decorator) died in 2007 before he saw it gain new life.

The Writers Guild of America's nominations for 2014 films have given us a largely predictable set of choices, based on the previously reported ineligibility of major contenders like Selma, The Theory of Everything and Mr. Turner.

While I do like to give most of the credit to Green for writing something this amazing, it does need to be said that these writers worked hard to adapt the story and not leave out anything that took away from fans of the book being able to enjoy the film.

He hasn't exactly shaken up his approach since 1988's «Damnation» (that said, this writer — probably like most — isn't familiar with his crop of»90s short films), and if despairing (yet deeply moving) minimalist films composed of stark black - and - white single takes doesn't tickle your fancy, this film won't change your mind.

Pirates of the Caribbean is the first film ever released under the Walt Disney Pictures brand to receive higher than a PG rating (the film is rated PG - 13), and the team assembled to make the film is a virtual Who's who of hot properties: Director Gore Verbinski had a huge hit last year with the spook fest The Ring, Writers Terry Rossio & Ted Elliott were the writing team behind Shrek, Actor Johnny Depp is so extremely selective in his roles no one would ever imagine he'd do a Disney film, Orlando Bloom is fresh off the Lord of The Rings Trilogy, Geoffrey Rush has at least one Academy Award under his belt, and Keira Knightley has become a hot property after her performance in the run away indie hit Bend It Like Beckham.

In the Fade (Fatih Akin, director & writer) I've liked Fatih Akin's films ever since seeing Head - On in 2004 and The Edge of Heaven in 2007.

Fans of writer - director David O. Russell like to compare his films to those of Preston Sturges, who in the 1940s produced the most singular run of movies in the history of American comedy, including The Lady Eve, The Miracle of Morgan's Creek, and Hail the Conquering Hero.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

The evolution of the movie «The Post» (2017)-- a story about The Washington Post's 1970s battles with government over its publication of classified information relating to the Vietnam War and Pentagon Papers — reportedly goes something like this: It was a screenplay authored by Jewish writers Liz Hannah and Josh Singer, who presented it to Jewish film producer Amy Pascal, who decided it would «be a great story to tell.»

From films like Something's Got ta Give and The Holiday, the writer / director has made herself known for her particular style of well - lit, amiable comedies starring A-listers looking to have a pleasant break from the harder fare that they usually take on.

Writer / director da Silveira parts ways with the slasher film motif (and all its promise) to handle things like character development and plot, of which there is very little.

After securing the 2013 Sundance Film Festival's Screenwriting award, a slot on the National Board of Review's top ten list of indie films, and the vocal support of critical heavy hitters like A.O. Scott, Lake Bell's pitch - perfectly precise comedy In A World... announced itself as one of the more confident debut features in recent memory, let alone from an actor - turned - director / writer.

The criss - crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.

Ayer clearly has no control as a writer or director, the cast feel like they are worlds apart from one another in every way, and the studio clearly cut the film to hell trying to salvage whatever they could out of the mess that he gave them.

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.

With Krieps on board, it also somehow feels like the Hitchcock movie Audrey Hepburn didn't get to make but clearly channeled through the unique mind of Anderson, a film - savvy writer - director responsible for such fever dreams as Boogie Nights, Magnolia, Inherent Vice, and of course There Will Be Blood, his previous adventure with Day - Lewis that also felt like a movie stitched together out of something not easily explained on first viewing.

David Mamet ---- «House of Games «If it feels like some of the writers on this list kind of lucked into direction having written a film (or several) that became a mainstream success thereafter, there are a few others whose writerly voice was already so established that the idea of having them direct a straightforward genre film is kind of inconceivable (see also: Charlie Kaufman).

Tomorrowland (May 22, 2015) The trailer did not bowl me over like the text descriptions of this film, but I do trust writer - director Brad Bird (The Incredibles), star George Clooney and, to a lesser degree, co-writer Damon Lindelof («Lost», World War Z).

So much of the film was like this — half - thought - out ideas that might have worked with better writers and actors but upon completion didn't work at all.

It sounds like, despite questions about how exactly Colin Firth fits into the equation and the setting of at least part of the film in the United States, there's going to be quite a bit of continuity: same director, same writer and, according to Goldman, a similar mindset as the first film.

Split is funnier, campier, and more freewheeling than anything its writer - director has done — slightly overlong, but reminiscent of Brian De Palma films like The Fury and Femme Fatale in its refusal to be boring.

To celebrate the release of «Dark Feed», from the Writers of «John Carpenter's The Ward», Media Mikes would like to giveaway TWO copies of the film on DVD.

Like that film, writer - director Gary Ross's adaptation of Laura Hillenbrand's excellent non-fiction washes out as something creepily nostalgic, weightless, and unintentionally disturbing.

By focussing on the emotional bleakness in this story, writer - director Williams manages to find some interesting moments in a film that otherwise seems contrived to reach fans of heartwarming fare like The Best Exotic Marigold...

So pairing the writer - director with equally audacious source material seems like a win - win combination, as Garland takes a budget nearly quadruple that of his last film to adapt Jeff VanderMeer's head - trip novel of the same name, the first in his Southern Reach trilogy.

The sun - kissed and sophisticated Eileen Wade (Nina van Pallandt) wants Marlowe to find her missing hubby Roger Wade, a boozy writer, (played by the wonderful Sterling Hayden, a veteran of film noirs like «Asphalt Jungle» and «The Killing»).

The grumpy room - mate character and the stern father figure are constants of this genre, but whereas other films would have shoved them into the ending somewhere, the writers simply let them gracefully bow out when it feels like their time.

Surprisingly, the film isn't directed by gross - out champs like the Farrelly Brothers or Todd Phillips, but instead marks the directorial debut of Kay Cannon, the writer of the Pitch Perfect trilogy and a writer / producer of NBC's 30 Rock.

Paramount Pictures has assembled a writer's room including Michael Chabon, Akiva Goldsman, Christina Hodson, Nicole Perlman, Jeff Pinkner, Lindsey Beer, and Joe Robert Cole to adapt a film franchise based on the popular YA series of encyclopedias exploring concepts like «Alienology,» «Oceanology,» «Monsterology,» «Dungeonology» and «Spyology.»

Inspired by films of the 1970s like California Split, The Gambler andScarecrow, Mississippi Grind is a character study in the form of a road trip, expertly guided by writer - directors Ryan Fleck and Anna Boden, who brought us such notable indie films as Half - Nelson and Sugar.