Script Reviews

Moritz Binder, Tim Fehlbaum and Alex David’s screenplay for September 5 confines itself, almost entirely, to the ABC Sports control

Christopher Nolan’s screenplay for Oppenheimer announces its structural ambition in its first scene: we are in a hearing room, not

Bradley Cooper and Josh Singer’s screenplay for Maestro makes a decision in its earliest pages that determines everything about the

Mike Hodges’ screenplay for Get Carter, adapted from Ted Lewis’s novel Jack’s Return Home, is one of the most unsparing

Mitch Markowitz’s screenplay for Good Morning Vietnam is organised around a structural gamble that most screenwriting orthodoxy would counsel against:

The screenplay for Anora, written by Sean Baker, is a whirlwind example of how to blend high-energy caper energy with