#clv film

[depouniverse]

How to Become a Certified Legal Videographer: A Step-by-Step Guide

How to Become a Certified Legal Videographer What is a Legal Videographer? A legal videographer, also known as a forensic videographer or courtroom videographer, is a professional responsible for creating video documentation of legal proceedings. This may include depositions, courtroom proceedings, accident site recreations, and more. The job requires technical expertise, an understanding of legal procedures, and adherence to strict ethical standards. Why Become a Legal Videographer? Legal videography is a growing field with opportunities for freelance work, contract jobs, or even full-time employment with law firms or video production companies. The demand for legal videographers has increased as video has become a critical tool in the legal process. Attorneys use video to document testimonies, provide visual evidence, and enhance courtroom presentations. Steps to Becoming a Legal Videographer 1. Understand the Job Requirements - Technical Skills: Proficiency in video recording equipment, editing software, and lighting techniques. - Legal Knowledge: Familiarity with legal terminology, court procedures, and the importance of chain of custody for evidence. - Communication Skills: Ability to work professionally with attorneys, witnesses, and court officials. - Ethics: A strong understanding of confidentiality and impartiality in legal matters. 2. Educational Background While a college degree is not mandatory, having a background in one of the following fields can be advantageous: - Film and Video Production - Legal Studies - Communications Some aspiring legal videographers pursue associate or bachelor’s degrees to strengthen their resumes, but practical training and certification often hold more weight in the field. 3. Get Certified Certification is not legally required in all jurisdictions, but it is highly recommended as it demonstrates professionalism and competence. Certification programs are typically offered by industry organizations such as the American Guild of Court Videographers (AGCV) or National Court Reporters Association (NCRA). Key Certifications: - Certified Legal Video Specialist (CLVS) by NCRA - Training Duration: Approximately 2–3 months, depending on the pace of the training. - Steps:- Pre-Workshop Learning: Complete an online or in-person orientation covering basic legal videography principles. - Hands-On Workshop: Attend a live workshop (usually a 2-day event) where you'll practice video techniques under expert guidance. - Certification Exam: Pass a written exam and a practical skills test. - Cost: $1,500–$2,000 (including training, workshop fees, and exam). - Certified Deposition Video Specialist (CDVS) by AGCV - Training Duration: 1–2 months. - Steps:- Complete an online course covering deposition-specific practices, legal ethics, and technical guidelines. - Submit a recorded mock deposition for evaluation. - Cost: $800–$1,200. 4. Invest in Equipment To start working as a legal videographer, you'll need professional-grade video and audio equipment. Key items include: - High-definition video camera - Tripod - External microphones - Digital audio recorder - Lighting kit - Video editing software (such as Adobe Premiere Pro or Final Cut Pro) Expect to spend $5,000–$10,000 on equipment initially, depending on the quality and brand. 5. Gain Experience Building a portfolio is essential. Start by: - Volunteering for mock trials or pro bono work. - Shadowing experienced legal videographers. - Practicing with staged depositions or courtroom scenarios. Freelance platforms, legal job boards, and networking events are excellent places to find entry-level opportunities. 6. Market Your Services If you’re planning to work as a freelance legal videographer, branding yourself is critical. Here’s how: - Create a Website: Showcase your portfolio and services. - Network: Attend legal conferences, join videography associations, and connect with attorneys. - Utilize Job Boards: Platforms like LawClerk, Upwork, and industry-specific sites can help you land projects. 7. Stay Updated Legal videography is a dynamic field influenced by technological advances and legal standards. Stay current by: - Attending industry workshops. - Renewing certifications as required. - Learning new video editing techniques and tools. How Long Does It Take to Become a Legal Videographer? The timeline to become a legal videographer depends on your prior experience and commitment to training: - Entry-Level Individuals: 6–12 months (includes learning technical skills, completing certification, and building a portfolio). - Experienced Videographers: 2–4 months (if you already have video production skills and only need certification). Earnings and Career Outlook Legal videographers typically earn: - Freelancers: $50–$150 per hour, depending on location and experience. - Full-Time Positions: $40,000–$70,000 annually. The demand for legal videographers is expected to grow as legal proceedings increasingly rely on video documentation. Skills in trial presentation software, such as TrialDirector or OnCue, can further enhance your career prospects. Final Thoughts Becoming a legal videographer requires a combination of technical skills, legal knowledge, and professional certification. While it involves an upfront investment of time and money, the career offers flexibility, good earning potential, and the opportunity to work in a growing and impactful industry. With dedication and the right resources, you can establish yourself as a trusted professional in the legal field. Depo Universe is happy to answer any questions for tips not mentioned here for becoming a certified legal videographer. Reach out here. Read the full article

[jurnaldeoltenia]

Actorul Remus Mărgineanu a murit. A fost fondatorul şcolii de teatru din Craiova

Actorul Remus Mărgineanu a murit. A fost fondatorul şcolii de teatru din Craiova

Actorul Remus Mărgineanu a murit, la vârsta de 84 de ani. Anunţul a fost făcut de Teatrul Naţional din Craiova, pe scenă căruia actorul a urcat de nenumărate ori. Remus Mărgineanu, care a murit la o lună după ce a împlinit 84 de ani, a fost fondatorul şcolii de teatrul din Craiova. “Primim o veste extrem de tristă astăzi: a încetat din viață actorul și profesorul REMUS MĂRGINEAN, societar de…

[lalamettaamica]

Per te farei di tutto

ma tu non mi credi.

-CLV, Dormi

[puterboy1]

#lights made on the Dehancer iPhone app and shot on iPhone 14 pro. Film stock used: Kodak Ektar 25 #dehancer #iphone14pro https://www.instagram.com/p/Clv-4rrrr83/?igshid=NGJjMDIxMWI=

[maikesilva27]

Coraline e o mundo secreto Adoro esse filme #coraline #coralinejones #coralineeomundosecredo #fanartcoraline #desenhosanime https://www.instagram.com/p/ClV-49srBSi/?igshid=NGJjMDIxMWI=

[saladementale]

OK, so THIS is a bit of a trip back in time...like almost 20 YEARS, when a young, fresh-faced me was invited to do a 6 month European Animation Masterclass in Germany, tutored by #raimundkrumme and other greats in animation, and managed to squeeze out #OfLiceAndMen, a short about Louis the louse, living through the different hairstyle of its host. It never got 100% completed, but if you ask me nicely, I might show you the unfinished film privately. • • • #timemachine #famleipzig #cartoon #animationshort #masterclass (at Halle an der Saale, Sachsen-Anhalt, Germany) https://www.instagram.com/p/ClV-0vat_36/?igshid=NGJjMDIxMWI=

[cameraworker]

We Arri Ready... 🎬 🎥 #CameraWorks #Becausewecam #showreel #videoproducer #tv #tvedits #videoproductions #video #director #editor #editing #motiongraphics #musicvideo #music #filming #filmmaking #film #set #commercial #company #camera #aftermovie (bij CameraWorks) https://www.instagram.com/p/ClV-JyQMkjM/?igshid=NGJjMDIxMWI=

[otcsocialnetwork]

7/1/22 TRENDS

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[intercity80x]

WAS writing it out in the tags of that last post i RBd but I’m going to put it here. im working on getting or atleast sourcing a copy of 2001 on every video format it’s been released on. i physically have three at the moment, and they were fairly obvious to source: a dvd, a blu ray, and a vhs tape. all were sealed! ive watched the dvd and bluray ofc but im keeping the tape sealed, just because i think that’s really cool. 

but anyway sourcing a Beta tape for 2001 has been… difficult to say the least. i can’t buy from the US only the UK due to import taxes even if I had the money to buy this stuff. ive seen one or two of them around but generally quite expensive for what it is - oddly enough I’ve found beta tapes of 2010 for much cheaper, even though presumably even less would’ve been made.

ive found SEVERAL CEDs for 2001. same with laserdiscs (ive seen CAV iirc, not sure about CLV) which makes a lot of sense given that laserdisc and CED were always marketed to film weirdos - home video wasn’t really a thing when those were envisioned, and people don’t have players for them

beta has been difficult to find. im guessing this is probably because beta didn’t have much of a market infiltration in the uk so they’re not floating around here? friend with huge VHS collection has 0 beta tapes, i don’t think ive ever seen them around when i go charity shopping hunting either. it’s been far easier to find them in other countries

the only VCD/CD video ive found was from mid Europe, cost way too much to justify buying (+postage) for a frankly Just Bad format but i also totally want it. so hey.

i do not own a 4K UHD version. i know one exists, but it’s probably the least of my problems given that the rest of these are going to be much harder to get ahold of. really I could just walk into HMV and get one any time i wanted, hence the others are of more interest to me

i have seen HD-DVD releases around. this is again probably one of my lesser worries in sourcing this collection, seeing as hddvd was a ‘fairly recent’ format. they’re on eBay, you can get them, it’s cool. not really a worry

now onto the weird bits; things it hasn’t been released on:

NO UMD release!!!!! you can get 28 days later, american psycho, A FUCKING CLOCKWORK ORANGE, on UMD, but not 2001. it really feels like they dropped a ball with this, and it pisses me off. if I HAD to guess why this happened, it would be because of the sheer runtime (2h22min off the top of my head, I don’t have my dvd with me to check rn) 

obviously no videonow, GBAvideo, minidvd etc due to size and probably also demographic. also, very likely no flexplay, but who cares anyway. I don’t really count that as it’s own format, it was kinda just a new kind of DRM. same for DIVX, which is just a DVD with fancy DRM. i want to be able to reasonably play all of this media if I had the players.

no VMD release from what I can tell either, but hell, only like 10 movies were released on that anyway. given VMDs purported 50+gb of storage (by NME anyway) you’d think they’d want to put it on there to impress people, but apparently not.

there’s a lot that im not able to find info on. there was a lot of weird video stuff in the 80s and 90s that never saw the light of day outside of some limited releases, and a lot of that hasn’t been catalogued on the internet because nobody but some random guy wants to know whether a specific film was released on them. a lot of these experimental or weird kinds were from japan, who obviously had issues w tapes because of the humid climate (hence their big focus on discs - minidisc, laserdisc, you name it), and it’s hard to say and probably unlikely whether they could’ve gotten the licensing rights to put 2001 on them for a limited run and not a recent Japanese film.

we (me and a friend) think burning to videonow would be possible if we can track down the software used. it would be very close to VCD in terms of quality, BUT it would be very funny to do so and would likely involve compressing the DVD edition to fit on a CD, which would then be placed in a Slightly modded videonow. we’d need another videonow to do this, OR we would have to experiment by cutting up CDs seeing as data is recorded on these linearly. this may also be possible with UMD, but I don’t know enough about UMD to know whether it could be jury-rigged burnt to with a DVD burner. either way, it would be incredibly compressed and awful to watch, but just fucking delightful for the memes. 

side note: ive always thought it would be genuinely fucking hilarious to have 2001 on bluray and 2010, the worse movie, on hddvd, the losing format, BUT i haven’t been able to find rewritable hddvds to do this with. unfortunately, I think they’ve all just been swallowed up, which is sad for my dreams, but it’s possible I may find some… some day <3

side note two: would love vinyl and CD (though probably couldn’t find cassette) of the soundtrack. this probably wouldn’t be hard to find though. bonus points if I could find Alex north’s original 2001 score on CD and Vinyl; I BELIEVE there was a CD release but im unsure about vinyl tbh

so those are my musings on 2001 on as many different video formats as i could find.  i will do it one day. when i have a job. 

[rasslingrob]

CLV) Delivery Man This may not be the best Vince Vaughn film, but it isn’t worth all all the scorn it has abhorred. Delivery Man is worth a watch by Vaughn fans and enjoyed for what it is, a good dramedy with a solid cast with Vaughn, Pratt, and Smulders. https://www.instagram.com/p/CdSy94GOdQx/?igshid=NGJjMDIxMWI=

[filmstruck]

Six Questions With FilmStruck: Larry Karaszewski

FilmStruck: What was the movie that made you fall in love with movies?

Larry Karaszewski: That’s a really complicated question. I fell in love with movies when I was very young, like 9 years old. It wasn’t a specific movie and it wasn’t like most kids who fall in love with movies when they see SNOW WHITE or they see THE WIZARD OF OZ. My parents got divorced and my dad got me one night a week and he sort of didn’t know what to do with a kid and he liked to drink beer, so he would go to the drive-in and drink a case of beer and fall asleep. I would watch these insane early 70s drive-in triple bills. So for me it wasn’t a specific movie, but it was more like a place. It was the Moonlight Drive-In in South Bend, Indiana. A lot of times when you see double features now there’s some kind of thought behind them, there’s a plan for playing the two films back to back. But when I was a kid there would be a new release like DR PHIBES playing with (Gillo) Pontecorvo’s BURN! or THE STERILE CUCKOO or KLUTE. You would see these absolutely insane combinations of movies that really had nothing to do with each other. For me being a little kid, they were completely age inappropriate, which I always thought was a good thing. I think one of the problems with audiences right now is from an early age everything is aimed directly at them. When you’re a kid you can watch The Disney Channel, then Nickelodeon, and everything is aimed directly at you. When I was a kid, I don’t want to sound too much like an old guy saying get off my lawn, but when I was a kid there were only three networks, so you had to watch whatever the hell was on. So if MANNIX was on, I had to watch MANNIX even though I didn’t know what the hell was going on and I was bored out of my mind. It made me learn to sit around and wait for the pay off and know that I would be rewarded. That was definitely the case with me seeing so many R-rated films that pushed the envelope. Crazy stuff that you would never show a kid like THE LAST HOUSE ON THE LEFT, which I saw at a drive-in at a very young age. 

If I had to specifically answer your question, though, in terms of an early movie I saw that changed me in a big way in terms of love for film I would say HORSE FEATHERS with the Marx Brothers. because I saw it fairly young and it was one of the earliest movies I saw that was not of my era.  I remember seeing HORSE FEATHERS and not knowing who the Marx Brothers were and just being blown away at the freshness and the rapid fire comedy of it all. That Groucho could break the 4th wall, that there could be surreal moments in the middle of a movie. That Harpo could bring out a candle burning at both ends. There was sort of a magical quality to that, with this spirit of anarchy. Groucho’s opening song goes “whatever it is, I’m against it.” Definitely that’s something that appealed to me as a young kid. I think that’s why the Marx Brothers came back so strong in the early 70s. It was that sense of giving the finger to everybody. HORSE FEATHERS is a very good entryway for a young person because it’s giving the finger to a school. It made me love black and white movies. It made me realize black and white movies aren’t stuffy. Black and white movies aren’t dull. Black and white movies are crazier than the movies that other kids were seeing. My friends were seeing Disney kind of movies and I knew that HORSE FEATHERS had more going on than that.  

FS: What was the movie that made you want to go to film school and make movies?

LK: The movie that pulled the switch in my mind was THE CONVERSATION by Francis Ford Coppola. I was born in 1961, so I must have been 12, 13, 14 when I saw that film. That was the first movie that I saw where I put together that there were people who made the film. That there was an intelligence behind the lens. When you first start watching films you only think about the actors.  In the sense that you’re a kid and it’s like “Hey that’s the star! That’s Paul Newman. He’s cool in COOL HAND LUKE. I really want to be Paul Newman!” You don’t really say “I wanna be Stuart Rosenberg,” because you don’t really know what the hell that guy is doing. But when I saw THE CONVERSATION, I knew that there was a person telling me this tale. I could sense that there were filmmakers laying the story out in a certain way. I believe that was 1974. I may have even seen THE CONVERSATION on a double bill with CHINATOWN. They’re both Paramount and they were re-released together at a certain point. 1974 is full of really interesting films. I was coming of age in 1974, 1975 and you’ve got THE CONVERSTAION, CHINATOWN, GODFATHER II, DOG DAY AFTERNOON, ONE FLEW OVER THE CUCKOO’S NEST, NASHVILLE. These movies are coming right on top of each other and so when the match was lit by THE CONVERSATION there were lots of things to follow up on. It was like “Holy shit. There are voices in American cinema.”  And later when I actually got to work with folks like Milos Forman - it was a dream come true.

FS: How has your love of movies been expressed in your own films and television projects?

LK: That’s kind of an obvious one with me. My writing partner Scott Alexander and I have actually made films about filmmakers. ED WOOD is a complete valentine to joys of being both a filmmaker and a film fan. Just the love that Ed shows Bela [Lugosi] and film in general. Before we made that movie Ed Wood was always seen as a comic figure. A guy who made bad movies. We looked at him a little differently. We said why don’t we concentrate on his passion, why don’t we concentrate on his love of film. He came out to Hollywood and made a handful of movies. Very few people can say that and he pulled it off. He worked with his friends and he worked with his hero. Ed loved movies so much that he just had to make them. So his movies are trying to please himself. He is trying to make the movies he loves. If you look at some of them now, if you look at GLEN OR GLENDA, it’s hard to laugh at all now at GLEN OR GLENDA. It’s a strange, experimental film, a guy putting his life on camera. He wrote, directed, and starred in that movie and it’s about his personal dilemma. For Scott and I, it was the idea of putting our own passion up there. Scott had worked on a bunch of low budget horror films. I had worked on a television show in the Midwest that was made by teenagers. We had both made Super 8 movies. We knew what it was like to be the outsider wanting to make movies and we both had such a passion for film we wanted to transfer that over to Ed.

FS: Are there any films that inspired the structure of American Crime Story?

LK: When we were doing American Crime Story the films we were looking at were some of the films from the same era we were talking about earlier, films like ALL THE PRESIDENT’S MEN, NETWORK, and the work of Robert Altman. DOG DAY AFTERNOON was another one we talked quite a bit about. Like with ALL THE PRESIDENT’S MEN, there’s that idea that you know the end. You know what’s going to happen, yet still it has the qualities of a thriller. By going into the minute details of how everything was found out and delivered, it makes it suspenseful even though you know Nixon is going to resign. We talk a lot about Altman when we were writing initially because usually a television show has a protagonist and you follow them the entire way. We saw the O.J. trial as a big Altman movie where everybody thought they were the lead. Everybody was being miked. Everyone thought that they were starring in their own movie and the other people were supporting characters. Like an Altman movie, like NASHVILLE where there are so many characters and when people are on screen they are living their part of the story - that was our goal for THE PEOPLE VS. O.J..

FS: What was your first introduction to the Criterion Collection?

LK: I was an early adopter. In fact, Criterion should give me a reimbursement check for all those LaserDiscs that I bought. Criterion was the first place on home video that I felt treated the movies with respect. In order to get them initially you had to have a LaserDisc player and nobody had a LaserDisc player. So I got a LaserDics player and my friend Dan Waters, the screenwriter of HEATHERS, got a LaserDisc player and we just became these LaserDisc freaks who would go down and buy all of these things. We would have a big discussion between CLV vs. CAV, which means absolutely nothing to anybody today, but it was an extra 50 bucks if you were buying the disc back in the day.

FS: I’m sorry I’m a youngin’, what does CLV and CAV mean?

LK: It was the amount of information on a disc. You had CAV was the highest quality you could get. CLV was a little lesser quality. With LaserDiscs you had to switch sides, so sometimes only one side would be CAV. Criterion was the first place to do commentary tracks, so it really was like going to film school again. I remember my demonstration disc, when people would come over and I would tell them about LaserDiscs and the Criterion Collection and they didn’t know what the hell I was talking about, so I would throw on the last side of TAXI DRIVER with Scorsese’s commentary track. People couldn’t believe it. They were watching the movie with Martin Scorsese and Martin Scorsese is talking about how and why he made all these decisions. Martin Scorsese was talking about Travis sitting outside and talking about ROCCO AND HIS BROTHERS playing inside the apartment. I remember that was my go-to because whenever I put it on for somebody, the following week they’d buy a LaserDisc player, or at least they’d say “can I come over again next Sunday and watch something else?”

FS: Do you remember what the first one you bought was?

LK: I still have most of them. The first memorable one was TAXI DRIVER, but I bought so many back in the day. I was pulling them out for talking to you guys and so many are still unopened! I paid $100 for VENGEANCE IS MINE on LaserDisc and it just sits there unopened. 

FS: You could sell that on eBay!

LK:  Yeah for like $5. The only laserdisc from Criterion that was worth a lot of money on eBay was SALO when you couldn’t get it any other way. 

FS: What was the first film you streamed on FilmStruck?

LK: I remember the first day I went on FilmStruck, I actually didn’t watch any movies. I watched a bunch of intros. The film writer Kim Morgan did a bunch, like Bergman and Kubrick and Guy Maddin. I love Kim’s writing so I wanted to see what she had to say about the films. My first great movie experience on FilmStruck was I MARRIED A WITCH, which I had never seen before. For some reason I had always avoided it, even though I love Veronica Lake in SULLIVAN’S TRAVELS. For some reason I had an “Oh it’s I DREAM OF JEANNIE or BEWITCHED” in my head. When I saw the movie it was so light and so funny and so magically done, no pun intended, I was completely blown away. So that was my gateway into FilmStruck.

FS: If the world were about to end what five movies on FilmStruck would you recommend everyone stream before we all died?

LK: [laughs] The problem is I don’t know what they’ve watched before. Like, BADLANDS is one of the top ten films of all time and you’ve got to watch BADLANDS, but hopefully you’ve already seen BADLANDS. Hopefully if you are dying in my nuclear bunker, you’re one of my friends and I’ve shown you BADLANDS before. I’m gonna spotlight some lesser known films on FilmStruck. There’s a Russian film called COME AND SEE, which I think is a masterpiece and probably one of the best war films ever. There’s a film by Jerzy Skolimowski  called MOONLIGHTING with Jeremy Irons playing a Polish worker in London in the 80s. I’m a huge fan of a movie from the 30s called DODSWORTH directed by William Wyler. You can never go wrong watching a William Wyler movie. Here’s a movie from the 70s that doesn’t get talked about very much: THE MAN WHO WOULD BE KING, John Huston’s big adventure movie. It doesn’t get talked about much because it doesn’t really feel like a 1970s movie in the sense that it isn’t R-rated, it isn’t gritty, it isn’t one of those kind of movies; It’s more of an old fashioned adventure movie, and Huston knocks it out of the park. I’d throw in SWEET SMELL OF SUCCESS, which was a huge influence for Scott and I when we were writing BIG EYES, particularly the first part of it which spotlighted the nightclubs in North Beach in San Francisco. The Hungry Eye, The Purple Onion, and sort of that way that Walter Keane just kept working the room wherever he went. So we would watch SWEET SMELL OF SUCCESS a lot when we were writing those nightclub scenes. I think that’s a solid list of films to stream as the world ends on our watch.

You can follow Larry Karaszewski on Twitter here. The Assassination of Gianni Versace: American Crime Story airs Wednesdays at 10pm on FX. 

[lalamettaamica]

Sei il male a cui non trovo rimedi.

-CLV, Dormi

[hoganbrand]

A mantra for a more sustainable future HOGAN-3R #HOGAN #Hogan3R #AW2122⁣ Discover more on IGTV⁣ ⁣ Film Director: @quentin_jones https://www.instagram.com/p/CLv-b1ypMnM/?igshid=y17eu84w7hi

[michaeljantze]

POOF!! Splendid art by @kelly_mcnutt on @gocomics Studio Jantze today! Reminds me of the film “Shampooch”! . . . #misterlux #mrlux #jantze #sanitysketch #sanitysketching #cartooncharacter #cartoon #pandemic #mixedmedia #watercolorillustration #stayhome #staysmart #hunkerdowncheerup #sakura #pigmamicron #gocomics #winsorandnewtonwatercolors #strathmorepaper #kellymcnutt #doggroomer #doggrooming #shampoo #warrenbeatty https://www.instagram.com/p/CLvs-jvjiH5/?igshid=72z88cxhpmbq

[superglambeauty]

This weeks nail look by @icingstores nail haul is filmed and will be up on the 18th. (at Virginia Beach, Virginia) https://www.instagram.com/p/CLV--9xBMk-/?igshid=7m9i87ajxzsh

[amongxylophonesandglockenspiels]

Bollywood Movies Part CLV

After his wife Supriya (Yami Gautam) is fridged, Rohan (Hrithik Roshan), a blind man, vows retribution on Amit (Rohit Roy) and Wasim (Sahidur Rahman), who harmed her, and Amit’s politician brother Madhavrao Shellar (Ronit Roy) who covered it up. 

TW for movie: rape, suicide. Kaabil is a very regressive film and the story is horrible. Supriya exists only to be fridged, and much of Rohan’s revenge doesn’t make sense when thought about logically. I did enjoy the romance, but that’s quickly overshadowed by the rest of the movie. Favorite songs are Mon Amour and Kaabil Hoon. Neither song has subtitles.

In Gujarat, a state where prohibition is enforced, Raees (Shah Rukh Khan) rises to power in the ‘90s by bootlegging. In the process, he invites the attention of the zealous IPS officer Majmudar (Nawazuddin Siddiqui) who works to bring Raees down.

Raees is a film filled with drama, action, fun, and romance. Though a bit long, it was a very enjoyable watch. Shah Rukh Khan is wonderful as the loveable criminal Raees, and Mahira Khan is magnificent as his wife Aasiya who, against the genre tropes, helps him with the business. However, Nawazuddin Siddiqui steals the show, especially when he shows off his Michael Jackson moves. Favorite songs are Udi Udi Jaye, Dhingana/Ghammar Ghammar (featuring Nawazuddin Siddiqui’s Michael Jackson moves), and Enu Naam Che Raees. None of the songs have subtitles.

After Priya (Priya Anand) is possessed by a dybbuk, her husband Ranjan (Prithviraj Sukumaran) enlists the help of Rabbi Marques (Sujith Shankar) to rid her of it. 

Ezra could have been a good film if the filmmakers had done proper research for it. The ending is a bit of a cop-out, but the worst thing about the film is its portrayal of Jews and Judaism, even though the movie hinges on it. It was ill-informed at best, and nearing blood libel at the worst parts. The actors did give good performances with what they were given, but I (as a Jew) am seriously offended by what they were given. The milder offenses range from having the rabbis wear robes like Catholic priests with unfortunate long haired wigs, to wearing the tallit completely wrong, to having spoken Hebrew that was sometimes recognizable and sometimes complete gibberish. The worst offenses were portraying Kabbalah as a black magic and having a father murder his child and a non-Jew to make the son into a dybbuk to wreak destruction on the non-Jews. I did not enjoy watching Ezra. Favorite song is Lailakame (no subtitles) which has nothing I find offensive in it.