Word: scripted
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...script (by David Aaron Cohen, Vincent Patrick and Kevin Jarre) is good about not making too much of this relationship, subtly foreshadowing the betrayal that must end it but allowing these figures room to draw normal human breath. It diverts us by showing each man dealing with a dangerous professional problem. In Tom's case it is a hot-headed, trigger-happy yet likable partner (well played by Ruben Blades) who tests his loyalty and affection. In Frankie's, it is an arms dealer (Treat Williams, slithering from smooth menace to surprisingly vicious sadism) who tests his nerve...
...that Pitt and the script cheat a little with his character, not investing him with quite the fanatical glitter a political gunman ought to exhibit. But you have to balance that against the reality of Ford's work--no one half-suppresses, half-reveals strong feelings better than he does--and director Alan J. Pakula's analogous strengths. Pakula (Klute, Presumed Innocent) develops his story patiently, without letting its tensions unravel. At a moment when everyone is saying the studios have lost the knack for making solid, broadly appealing entertainments, The Devil's Own suggests the skill may be only...
...beginning to tighten around him. Given an assumed name and occupation, he enters the country, and the home of Harrison Ford?s Tom O?Meara, as an ordinary immigrant needing a sponsor. Since Tom is a New York City cop of unquestionable honesty, Frankie?s cover is perfect. The script (by David Aaron Cohen, Vincent Patrick and Kevin Jarre) is good about not making too much of this relationship, subtly foreshadowing the betrayal that must come, but allowing these figures room to draw normal human breath. "Pitt and the script cheat a little with his character, not investing him with...
Eliminate both Secrets & Lies, inexplicably nominated since it was shot without a script, and Shine, since biography seldom wins awards for originality. After that it's a toss-up. Fargo got more recognition for its visuals and its characters than for its script, but that's where it all started. Jerry Maguire dared not only to turn a star vehicle into an actual character piece but also to create several likable, believable men and women (and it gave America "Show me the money!") John Sayles's Lone Star was overlooked in every other category, but its dense novelistic structure makes...
...here, since Kenneth Branagh preened so much over not altering Shakespeare's text. Arthur Miller is a hard name to ignore, but the Academy and the public have found it in them to ignore The Crucible altogether. Not enough people understood the accents in Trainspotting to know if the script was any good. That leaves The English Patient and Sling Blade, both of which created complex characters and entire communities, and both of which have key support from the massive actors' branch...