#create an intelligent plot or screenplay

[in-sightjournal]

Ask A Genius 1048: The Anja Jaenicke Session

Rick Rosner, American Comedy Writer, www.rickrosner.org Scott Douglas Jacobsen, Independent Journalist, www.in-sightpublishing.com Scott Douglas Jacobsen: The next question is from Anja Jaenicke: “Rick, as I understand, among other things, you are working as a writer for TV. Television programs worldwide are intended for mass entertainment and do not necessarily meet the tastes of the more…

[cinemagooey]

Monkey Business

There's a new Planet of the Apes sequel in theaters now, Kingdom of the Planet of the Apes. It's the perfect time to go a little bananas over the OG film that made the industry go ape-sh%$ crazy, and peek at the franchise that made billions for Fox.

Charlton Heston all tangled up in Planet of the Apes (1968)

Twentieth Century Fox had a monkey on its back.

It was 1968 and the studio had taken a huge gamble by greenlighting a movie based on an obscure french novel called La Planèt Des Singes, when no other studio wanted to touch it.

The science fiction plot was way out there for one thing - monkeys evolving into super-intelligent rulers of the world? Humans devolving into mute beasts? Fuggetaboutit. Audiences wouldn't buy it. And the cost of making the futuristic film seemed rife with financial risk.

The original Planet of the Apes novel cover

But a VP at Twentieth Century Fox, Richard F. Zanuck (scion of the studio founder), was intrigued by the screenplay, co-written by The Twighlight Zone's own Rod Serling.

And the man who had taken the biggest gamble by gobbling up the rights to the novel, Arthur P. Jacobs, a former publicist to Marilyn Monroe and Gregory Peck, just wouldn't shut up about it, convincing Zanuck that this was going to be a gorilla of a hit. It helped that Charlton Heston, an A-lister star, had signed on to play the lead.

Charlton Heston a/k/a Moses

Despite initial fears that audiences would laugh at the ape costumes and shake their heads at the plot, Zanuck moved forward (after signing his mistress to play the crucial role of Nova, the female companion to Heston's Captain Taylor). In 1967 filming began in the high heat of the Arizona and Utah deserts.

Charlton Heston as Taylor and Linda Harrison as Nova, the primitive female who managed to keep her brows perfectly shaped and teeth pearly white - even during apocalyptic times!

Filming Planet of the Apes, 1967

The summer heat, which got upwards of 120 degrees, made life pretty unbearable for the cast members. Kim Hunter, the actress who played Zaria and had to endure several hours in heavy prosthetics, resorted to taking valium. Jeff Burton, who played the doomed astronaut Dodge, fainted from the heat. The unforgiving landscape was treacherous and some equipment had to be brought in by mule packs. But it paid off handsomely when audiences flocked to see this groundbreaking sci-fi movie.

The premise is ingenious: four astronauts blast off from Cape Canaveral to explore the universe for six months. When their spaceship crashes on a mysterious planet, the three surviving astronauts strike out to explore the surroundings, realizing that they've not only landed on a strange planet, but have arrived 2,000 years into the future. Captain Taylor, upon his first encounter with primitive, mute humans, states wryly: "If that's the best they've got around here, in six months we'll be running the planet."

Not so fast, Taylor. Turns out talking apes run this planet and have created a society not unlike mankind did back on earth - complete with a socieo-economic and racial class system, a religion that explains why apes are the superior being, and heated debates on faith vs. science that rile up the status quo.

Who runs the world? Apes

Government officials are left scratching their furry heads at Taylor, the only astronaut to survive an ape attack - they've never met a human who can talk and reason. What to do with this strange creature, who is scheduled to be gelded and lobotomized?

Two compassionate apes, Zaria (Kim Hunter) and Cornelius (Roddy McDowell) who believe that apes evolved from humans, come to Taylor's rescue and set into motion an epic ending that has gone down in the annals of film history as one of the best movie twists ever made.

Turns out Taylor was home all along

Planet of the Apes became a blockbuster hit and spawned an impressive franchise that includes 10 movies: Beneath the Planet of the Apes (1970), Escape From the Planet of the Apes (1971), Conquest of the Planet of the Apes (1972), Battle for the Planet of the Apes (1973) {boy they were really riding the gravy train for a few years, eh?} Planet of the Apes reboot (2001) , Rise of the Planet of the Apes (2011) Dawn of the Planet of the Apes (2014), War for the Planet of the Apes (2017) and of course Kingdom of the Planet of the Apes (2024). It also birthed a television series with a 14 episode run in 1974, and a Saturday morning animated series in 1975. And let's not forget the endless paraphernalia that can be found on ebay (70's metal lunchbox, anyone?).

Of course, there were action figures, too

Twentieth Century Fox made a killing and that monkey on it's back in 1968 turned out to be nothing to sweat about at all. On the contrary, Planet of the Apes became a cultural juggernaut, despite film critic Roger Ebert's cheeky 1968 review of the film, encouraging viewers to see it, even if they have to "condescend" to the movie:

"You have nothing to lower," he wrote, "but your brow."

[fearsmagazine]

THE WRATH OF BECKY - Review

DISTRIBUTOR: QUIVER Distribution

SYNOPSIS: Two years after she escaped a violent attack on her family, Becky attempts to rebuild her life in the care of an older woman - a kindred spirit named Elena. But when a group known as the “Noble Men” break into their home, attack them, and take her beloved dog, Diego, Becky must return to her old ways to protect herself and her loved ones.

REVIEW: Lulu Wilson is back, reprising her role of Becky from the 2020 film “Becky,” directed by Jonathan Milott and Cary Murnion. At the helm this time are directors Matt Angel and Suzanne Coote as they ratchet things up placing Beck on par with Charles Bronson, Jason Statham or Keanu Reeves on an independent budget.

The screenplay takes no prisoners as it quickly brings the viewer up to speed and gets right down to the action. Just as Becky has achieved a bit of normalcy to her life she draws the attention of another fascist group trying to bring down the political system. The plot brings in a few elements from the initial film and works them. We get a few more details about one, but the mystery grows. The story gives way to action and Becky feels like what if Kevin McCallister (“Home Alone”) grew up to be John McClane (“Die-Hard”). No spoilers - the end seems a bit far fetched, but given what goes on in the rest of the film it should be hard to believe. For an independent film in this genre, it is extremely well written and I’d be curious to read the description of many of these action scenes. The story hits many beats the first film did. Some of those are character driven, others feel like the writers doing it for the fans of the first film.

The production values are solid. Given the technology has come a long way, Jonathan Milott and Cary Murnion demonstrate they have the chops of any of the great action directors that came out of the late 80’s and 90’s. The film has an excellent pacing, capturing engaging performances, and effect sequences that play out like a hybrid of video game play and a slasher film gore. I’m a sucker for a good score and composer Nima Fakhrara’s work here adds so much to the tone and feel of the film.

THE WRATH OF BECKY has a great cast. In the previous film, actor Kevin James anchored the film as the main villain. This time out, veteran actor Seann William Scott, also known for his comedic work, takes on the central villain and creates a memorable character. He creates a grounded, intelligent character that gets caught up in the madness of the story. I love the way his performance has his character in denial, that he is in a different film and needs to come to grips with the unstoppable force of Becky. The film is absolutely adult in terms of some themes and the violence, but the three henchmen feel like they are modeled after the “Home Alone” series. Then there is actress Lulu Wilson. She is fantastic. She is able to present this sense of innocence and youthfulness, but then she is able to present this look and intensity where you believe she is lethal. She is such a chameleon and a delight to watch work.

2020’s “Becky” was a memorable film, a well made independent film, featuring a great cast. The film had a serious tone and had much more jeopardy and peril to the tale. THE WRATH OF BECKY plays it a bit more tongue and cheek and amps up the violence and gore. The film asks us to believe that Becky is now 16. Okay, she’s been through a lot in the previous film so I’ll give the filmmakers that, but there are scenes in the film where she does look older, at least 18, which she is. Regardless, I loved the ride. The film ends taking the story in a new direction and there could easily be another film in the series. I loved Lulu Wilson’s work here and would be interested in taking in her continuing deadly exploits.

CAST: Lulu Wilson, Seann William Scott, Denise Burse, Jill Larson, Courtney Gains, Michael Sirow, Aaron Dalla Villa, Matt Angel, and Kate Siegel. THE WRATH OF BECKY CREW: Directors - Matt Angel and Suzanne Coote; Screenplay - Matt Angel; Producers - Jordan Beckerman, Chadd Harbold, Jordan Yale Levine, J.D. Lifshitz, Raphael Margules, Russ Posternak, & Tracy Rosenblum; Cinematographer - Julia Swain; Score - Nima Fakhrara; Editor - Stephen Boyer; Production Designer - Allie Leone; Costume Designer - Elena Lark; Visual Effects Artists - Joshua Petrino & Piotr Smorawski; Prosthetic Makeup Artist - Brian Spears. OFFICIAL: N.A. FACEBOOK: www.facebook.com/TheWrathofBecky/ TWITTER: N.A. TRAILER: https://youtu.be/4OSLsmFgi2g RELEASE DATE: In Theaters May 26th, 2023

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[nsfwhiphop]

Part 20 - Incoming Text for Vera Farmiga (@verafarmiga) and Keira Knightley (@keiraknightleyofficiall) and Scarlett Johansson (@scarlettjohanssonworld) and Zoe Saldaña (@zoesaldana): “An Idea Worth 500 Million Dollars”

Question:

Could you explain to Vera, Keira, Scarlett, and Zoe the concept of "World Building" in novels and screenplays?

Please explain that I have been a fan of the original film Frequency, written by Toby Emmerich, but I have added new elements to the story in order to enhance it. This process is known as "World Building" in the realm of writing novels and screenplays.

In this reimagined version, I have added the following elements:

AREA 51 investigations during the 1960s and 2000s, involving characters portrayed by Patrick Wilson, Hilary Swank, Kate Winslet, and Josh Hartnett.

The characters of Tom Hanks and Benicio Del Toro.

The characters of Meryl Streep and Charlize Theron.

Shea Whigham's character and the "Alien Object" (originally an old ham radio in the original film, but in this reimagined version, it is referred to as the "Alien Object").

These additional elements are a form of "World Building," where the story's universe is expanded, providing more depth and complexity.

I believe Toby Emmerich would agree that these new elements make his original Frequency story even better by offering a more detailed backstory for the “Alien Object.” These additions explain its origins and history in a way that the original film did not, making the narrative richer and more engaging.

In this explanation, the term "World Building" refers to the process of creating a detailed, immersive universe in a story, including additional elements like characters, events, or history that expand the original world of the film or novel. By incorporating elements such as AREA 51 investigations, new characters, and reimagining the “Alien Object,” the story is enriched and its universe is made more expansive. This is a common technique used by writers and filmmakers to create more immersive and complex narratives.

Here is the Wikipedia link for "World building":

World Building on Wikipedia - (click on the blue link)

You can read more about the film here:

Frequency (2000) - Wikipedia link - (click on the blue link)

ChatGPT Answer:

Adding new elements to a story, often referred to as "World Building," provides several distinct benefits to a narrative. As a professor explaining this concept, I would break it down into key points that clarify how these elements enhance the story, specifically in your reimagining of Frequency.

1. Expanding the Story's Universe

World Building enhances the depth of the story's world, making it feel more immersive. By adding elements like AREA 51 investigations in both the 1960s and 2000s, you’re expanding the world beyond the immediate events of the film. This offers viewers a broader understanding of the context in which the events take place. AREA 51, known for its association with extraterrestrial mysteries, opens up potential plot lines related to government secrecy, alien technology, and the unknown, all of which add layers to the original premise.

Citations: According to Writing for Film and Television by William H. Phillips, building a rich world encourages the audience to engage more deeply, as they can visualize a larger context beyond the story's immediate conflict.

2. Adding Complexity to Character Motivations

Introducing characters like Tom Hanks and Benicio Del Toro as two blue-collar coworkers who gain knowledge through the “Alien Object” makes them more dynamic. Originally simple, their transformation into highly intelligent individuals creates intrigue, deepening their character arcs. This shift makes the story richer by focusing on how ordinary people respond to extraordinary circumstances, thereby aligning with classic sci-fi themes of human potential when faced with the unknown.

Citations: In The Anatomy of Story by John Truby, it’s explained that complex character motivations not only create compelling stories but also make the audience care more about the outcome, particularly when characters evolve in response to new challenges.

3. Enhancing Plot Complexity and Suspense

The introduction of Meryl Streep and Charlize Theron as a wealthy villainous duo, with motives tied to the “Alien Object,” significantly raises the stakes. Their obsession with the object and the fact that they were connected to Shea Whigham’s character's death adds a layer of intrigue and tension. These elements enhance the "whodunit" nature of the plot, making the search for the Alien Object much more compelling as it becomes a race between characters with differing motivations.

Citations: Story by Robert McKee discusses how the introduction of complex antagonists can raise tension in a story, which is crucial for keeping an audience engaged. The added depth of the antagonistic forces working behind the scenes—specifically Meryl Streep’s character—enriches the narrative and raises questions about loyalty, power, and greed.

4. Establishing the Backstory and Origins

By reimagining the original "old ham radio" as the “Alien Object,” you’re offering the audience a more thorough explanation of its origin and purpose. This allows you to provide not only a sci-fi mystery but also a detailed backstory that builds intrigue. In world-building, these elements help fill in gaps and provide motivations for why the object is so important, and why certain characters are willing to risk everything for it.

Citations: The Writer’s Journey by Christopher Vogler underscores that adding a mythological or deeply rooted object to a story increases its narrative weight. The object itself becomes a symbol of power, mystery, and legacy, all of which add complexity to the plot.

5. Building Emotional and Narrative Depth

The relationships between characters, like those between Tom Hanks, Benicio Del Toro, and their daughters, now carrying the legacy of the Alien Object, provide a way to tie the story to generational themes. This evolution adds emotional stakes for the audience. The concept of heritage and legacy is deeply ingrained in the story, especially as these characters try to protect the object and hide it from the ever-persistent AREA 51.

Citations: In Creating Characters by Dwight V. Swain, it is stated that the depth of emotional stakes is one of the most effective ways to keep the audience emotionally invested, particularly when the story revolves around familial bonds and protecting a significant legacy.

6. Increasing the Scope of Action and Drama

By adding elements like the pursuit of the Alien Object across different time periods, especially with new characters like Kate Winslet and Josh Hartnett involved in the investigation at AREA 51, the stakes are continuously heightened. The story spans multiple decades, making it more epic in scope. This scope encourages a larger narrative arc, where the actions of past generations affect the present, allowing for a richer, more intricate plot that keeps expanding.

Citations: In The Art of Dramatic Writing by Lajos Egri, the concept of "expanding the canvas" through layered timelines and cross-generational plots is emphasized as an effective way to build both suspense and depth in a story.

Conclusion

In summary, adding these new elements serves several key functions in world-building:

It expands the story universe and makes it more immersive.

It adds complexity to characters and increases plot tension.

It provides a deeper backstory and origin for the "Alien Object" and its significance.

It builds emotional depth by tying characters to larger generational stakes.

It increases the scope of the action, enhancing the drama and suspense of the narrative.

World-building, as seen here, doesn’t just add "stuff" to a story; it provides structure and context that transforms the story from a simple narrative into a complex, compelling universe that invites deeper exploration.

[jakesealorwo]

Jake Seal - How AI is Revolutionizing the Film-Making Industry

The film-making industry is undergoing a significant transformation, driven by advancements in artificial intelligence (AI). Jake Seal, a prominent figure in the entertainment sector, highlights how AI is reshaping various aspects of film production, from scriptwriting to post-production. This blog delves into the ways AI is revolutionizing the industry.

Enhancing Scriptwriting

AI-powered tools are now capable of generating and refining scripts. These tools analyze vast amounts of data from successful movies, helping writers create compelling narratives. AI ensures that scripts resonate more deeply with viewers by predicting audience preferences and suggesting plot twists. This accelerates the writing process and enhances the overall quality of the screenplay.

Optimizing Production Schedules

Production management is another area where AI makes a significant impact. AI algorithms can optimize shooting schedules by analyzing weather conditions, actor availability, and location logistics. This leads to more efficient use of time and resources, reducing production costs and minimizing delays. Jake Seal emphasizes that such optimization is crucial for keeping projects on track and within budget.

Improving Visual Effects

AI is revolutionizing the creation of visual effects (VFX). Machine learning techniques enable filmmakers to generate realistic effects more quickly and cost-effectively. AI can automate complex processes like rendering and compositing, allowing artists to focus on creativity rather than technical details. This results in higher-quality visuals and more immersive cinematic experiences.

Enhancing Audience Engagement

Finally, AI is transforming how filmmakers engage with their audience. Through data analytics, AI can predict viewer reactions and preferences, guiding marketing strategies and content distribution. Personalized recommendations and targeted advertising ensure that films reach the right audience, maximizing box office returns and streaming platform views.

[aimersproduction]

AI’s Impact on Filmmaking: Transforming Stories with Tech

In the world of movies, new technology is always popping up to make things cooler and more exciting. One of the latest and most awesome things is artificial intelligence (AI) and machine learning (ML). These fancy terms might sound complicated, but they’re actually all about making movies better in lots of different ways.

In this blog, we’ll take a fun and easy-to-understand look at how AI and machine learning are shaking things up in movie making. We’ll see how they help writers with their stories, make filming easier, boost creativity, and even make sure you get the best movie recommendations.

So, get ready to dive into the future of movies with us! We’ll show you how AI and machine learning are turning the movie world upside down (in the best possible way).

1. Storytelling Assistance

AI and ML algorithms can analyze vast amounts of data, including popular trends, audience preferences, and historical data from successful films. Filmmakers can utilize these insights to craft compelling narratives that resonate with their target audience. For instance, AI-powered tools can help identify plot holes, predict audience reactions, and suggest improvements to scripts.

2. Content Creation

AI can generate content autonomously, ranging from short stories to entire screenplays. While these AI-generated scripts may lack the depth and nuance of human-created narratives, they can serve as valuable starting points for filmmakers. Additionally, AI can assist in generating visual effects, enhancing scenes, and even creating entire characters through deep learning algorithms.

3. Personalized Experiences

Machine learning algorithms can analyze viewer preferences and behaviors to deliver personalized content recommendations. Streaming platforms like Netflix and Amazon Prime leverage AI to suggest movies and TV shows tailored to each user’s tastes, increasing viewer engagement and retention. Similarly, AI-powered storytelling platforms can adapt narratives in real-time based on user interactions, creating immersive and personalized experiences.

4. Production Efficiency

AI streamlines various aspects of the filmmaking process, from pre-production to post-production. For example, AI algorithms can assist in casting decisions by analyzing actors’ performances and predicting their suitability for specific roles. During filming, AI-powered cameras can optimize shots, adjust lighting conditions, and even detect potential errors in real-time, saving time and resources.

5. Enhanced Creativity

Contrary to popular belief, AI does not replace human creativity but enhances it. By automating repetitive tasks and providing valuable insights, AI frees up filmmakers to focus on the creative aspects of storytelling. Moreover, AI-driven tools enable artists to experiment with new techniques, styles, and storytelling formats, pushing the boundaries of traditional filmmaking.

6. Ethical Considerations

As AI becomes more integrated into the filmmaking process, ethical considerations arise regarding its impact on creative expression, job displacement, and data privacy. Filmmakers must navigate these challenges responsibly, ensuring that AI augments rather than replaces human creativity and maintaining transparency in how AI-generated content is produced and credited.

Conclusion

AI and machine learning are revolutionizing filmmaking and storytelling by providing valuable insights, automating tasks, and enhancing creativity. Aimers Production has embraced these technologies, leveraging them to elevate their craft and bring innovative narratives to life. In their groundbreaking web series “Anirvan,” AI algorithms play a pivotal role in shaping character arcs, predicting audience preferences, and optimizing production workflows. While these technologies present challenges, they also offer unprecedented opportunities for filmmakers like Aimers Production to push the boundaries of storytelling and deliver immersive and personalized experiences to audiences worldwide. As AI continues to evolve, its role in the film industry will undoubtedly grow, shaping the future of storytelling in ways we have yet to imagine.

Original source: contxtart.in

[themovieblogonline]

It’s All RAW In "RUSLAAN”: A Thrilling Story with Poor Casting

Ruslaan (Aayush Sharma) was orphaned at a young age. His terrorist father (Nawab Shah) was killed in a shootout by the police and during the same shootout, his mother was also killed. He was adopted by police inspector Sameer Singh (Jagapathi Babu) and his wife. Ruslaan had an interest in music and grew up to become a college music teacher. But nobody knew his shocking secret. He was also working for the secret intelligence agency in India, RAW. He used to disobey the orders of his senior RAW officers but his misdemeanors went unpunished as he was a brave and honest man of high integrity. His senior officer Mantra (Vidya Malvade) was on a mission to track down and capture a dreaded terrorist named Qasim. During this mission, Ruslaan became a victim of allegations that he had murdered a renowned international businessman. Ruslaan’s adoptive father Inspector Sameer Singh, thus began tracking him down to arrest him. The Roar Of A Rebel: Casting Aayush Sharma as Ruslaan! https://youtu.be/_bX1RtKdoPs?si=mpv_eneujmidg583 So, what’s the reality? Did Ruslaan really commit the murder or is someone else the murderer? And who is Qasim? Was he ever captured? You will get to know all if you watch this petrifying musical action-thriller! Written by Shiva, produced by K.K. Radhamohan, and directed by Karan Lalit Butani, the unstoppable force “Ruslaan” is here to break the Bollywood big screens on April 26, 2024! With a gun in one hand and guitar in another, he is going to create a symphony of rebellion like none other. Ruslaan (2024) Official Trailer: https://youtu.be/gqpFSY93qF0?si=_t2Xkw2Haj_3xUhD The Good: The story of Ruslaan is interesting and the screenplay has a heavy dose of raw and engaging action. The action and stunt scenes are intense and thrilling coupled with an exotic high-definition cinematography. If you want some adrenaline rush within an intricate plot, then this is just the movie for you! Some of the dialogues in the movie are powerfully patriotic. "Jis Kuran Ko Maine Padha Hai Usme Allah Ke Baad Desh Aata Hai Aur Mera Desh Hindustan Hai" meaning, “The Quran I have read gives priority to my country just after Allah, and my country is India!” You can feel the power and intensity of this dialogue just by reading it. Presenting Aayush Sharma with Sushrii Shreya Mishraa in the romantic track “Taade” from Ruslaan https://youtu.be/5hoauPa_PT4?si=b1ro_HUmMnaEM5fK The Bad: Even if the screenplay is action-packed, the overall emotional and dramatic essence falls flat. Know what, the drama in Ruslaan is actually similar to that of 90s-era Bollywood action movies. It appears very routine and lacks novelty. There are some twists and turns in the 2-hour movie but they just don’t seem to make up for the foundering screenplay. Moreover, the eponymous music teacher and RAW-agent character of Ruslaan is very relatable and predictable. At the start of the movie itself, you will know that this guy is unstoppable and is here to prove his point. You will get a hint of the climax and will be able to visualize what’s going to happen after two hours. So, this can spoil the thrill to a certain extent. Actually, this heavy-duty action-hero character of Ruslaan was framed for a Bollywood actor who has star power as well as muscle power, for example, Salman Khan. But instead of Salman Khan, it’s his brother-in-law Aayush Sharma who takes the lead. Aayush Sharma is not a very popular actor in Bollywood. His movies rarely come out, the previous one being “Antim: The Final Truth (2021)” where he starred as the lead villain opposite Salman Khan and unfortunately, the movie became a Box-Office flop. Hear The Roar: Who The Don? Ruslaan!! https://youtu.be/EmBM_KmysjA?si=IBpRztQBRIX2kK-j Disappointingly, it’s all about the aura! It’s not about how the action goes, but about who is performing that action! Even if Aayush Sharma has performed some high-intensity action stunts in Ruslaan, he just doesn’t seem to fit in the shoes of the titular action hero because of his cute boyish looks as he appears more like a romantic hero than an action hero. I mean compare him to heavy-built macho men like Salman Khan and John Abraham. When you think about these guys, the image of Aayush Sharma will automatically shrink and disappear from your mind. The boy has built a good physique for his role no doubt, but he simply doesn’t stand on par with other action heroes in Bollywood in terms of ruggedness, machismo, or fame. Although he has tried his best to look rugged and fierce, I am sorry to say that no matter how hard he may try, he seems to be better off with romantic or comical roles. To be honest, Ruslaan received a pathetic opening from the audience and I guess, it’s because people are least interested in seeing Aayush Sharma as a Bollywood action hero. Surprisingly, it was not just Aayush’s performance but the performances of all other actors including Jagapathi Babu, Vidya Malvade, and Sushrii Shreya Mishraa seemed dreary. However, Bollywood’s legendary action hero Suniel Shetty in his short special appearance did put in some star power. https://youtu.be/U9YNhG4Fs-E?si=aparByk8K-p01wbD The Verdict: Aayush’s action film “Antim: The Final Truth” was a big flop. If things continue like the present-day openings, “Ruslaan” may not be able to survive at the Box Office, despite Salman Khan urging his fans to watch his brother-in-law’s film. I am not prohibiting you from watching Ruslaan. You can visit your nearest theaters, grab a bucket of popcorn, and dig yourself into this action-packed story. But while watching, make sure you leave your logic behind. Why is it that whenever the nation is under threat, there’s only one man who can save the day? Don’t try to reason, after all, it’s all just for entertainment! https://youtu.be/AvCRCk_i9Z4?si=ZrD0Z4VWKpvb-tHC   Read the full article

[jimi-rawlings]

Attrape-moi si tu peux Motor Vehicle Theft, Défense Lawyers, Planetary Intelligence (Démons et Angels) Impure Aesthetic Thrillers

Literary Device

Film Literature

in establishing the limits of both the novel (Newspapers) and the film, argues that novelist and film director meet in the attempt “to make you see”, the former through the mind; the latter through the eye.

“impure” aesthetic, one tinged with the markings of society, ideology, and sexual desire.

Capitalism, Betrayal, Romance

Poetic Réalisme

Poetic realism films are "recreated realism", stylised and studio-bound, rather than approaching the "socio-realism of the documentary". They usually have a fatalistic view of life with their characters living on the margins of society, either as unemployed members of the working class or as criminals.

Self-destructive Escapism

Escapism is mental diversion from unpleasant aspects of daily life, typically through activities involving imagination or entertainment. Escapism also may be used to occupy one's self away from persistent feelings of depression or general sadness.

Surréalism Screenplay

Surrealism is an art and cultural movement that developed in Europe in the aftermath of World War I in which artists aimed to allow the unconscious mind to express itself, often resulting in the depiction of illogical or dreamlike scenes and ideas.[1] Its intention was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.[2][3][4] It produced works of painting, writing, theatre, filmmaking, photography, and other media as well.

Suspense is created by withholding information or revealing it slowly, creating a sense of mystery or uncertainty about what will happen next.

A thriller generally keeps its audience on the "edge of their seats" as the plot builds towards a climax. The cover-up of important information is a common element.[2] Literary devices such as red herrings, plot twists, unreliable narrators, and cliffhangers are used extensively. A thriller is often a villain-driven plot, whereby they present obstacles that the protagonist or hero must overcome.

Slavoj Žižek Lacanianism or Lacanian psychoanalysis is a theoretical system that explains the mind, behaviour, and culture through a structuralist and post-structuralist extension of classical psychoanalysis, initiated by the work of Jacques Lacan from the 1950s to the 1980s.

Extra

Non-Fiction Movie

Prequal TV Série

Fictional TV Série

GERVÄIS PRINCE DU PETIT CHAMPLAIN

[cinemapremi]

Khufiya Movie Review: An Intriguing Espionage Thriller

In the realm of espionage, "Khufiya" stands out as a gripping and heart-rending tale. Directed and written by the master storyteller Vishal Bharadwaj, the movie is loosely based on Amar Bhushan’s 2012 novel, "Escape to Nowhere." Set in the early 2000s, shortly after the Kargil War, it unfolds an intricate narrative of intrigue and emotion. Top 10 Must-Watch Suspense Thriller Indian Movies

Khufiya Story

The narrative follows a RAW operative, Krishna Mehra, known as KM and portrayed by Tabu. Her mission is to expose a mole within the agency responsible for the murder of an asset. As the plot thickens, the agent embarks on an elaborate surveillance mission while navigating her dual identity as a spy and a lover.

A Tale of Espionage and Personal Loss

The film authentically brings to life the world of espionage, from decoding secret messages to relaying classified information and the art of double-crossing agents. It delves deep into the psyche of spies and the sacrifices they make to protect their missions. https://www.instagram.com/reel/CxUj4cYLo4k/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==

Characters That Keep You Hooked

Spies have always been intriguing characters, and "Khufiya" introduces a cast of steely operatives that will keep you on the edge of your seat. KM, alongside her boss, Jeev, played by Ashish Vidyarthi, leads a team that is as humane as they are hard-hearted. The movie portrays their unwavering dedication to the mission. https://www.instagram.com/p/CxxOFzISCHo/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==

A Melodic Masterpiece

One of the highlights of the film is its music. Vishal Bharadwaj, in collaboration with the legendary poet and lyricist Gulzar, creates enchanting melodies that complement the narrative. Songs like "Mat Aana" by Rekha Bharadwaj and "Mann na rangaav" by Rahul Ram enhance the film's emotional depth.

Outstanding Performances

Tabu's portrayal of KM is remarkable, capturing the essence of a sharp spy, a lover, and a woman torn between her ruthless job and family life. Ali Fazal delivers a compelling performance as Ravi, the traitor agent whose life unravels. Wamiqa Gabbi shines as a loving wife and mother who embarks on a perilous journey to protect her son.

A Multifaceted Spy Thriller

"Khufiya" is not only an engaging espionage story but also a heartfelt exploration of personal loss. It brilliantly weaves together a complex narrative of espionage, political relations between India, Pakistan, and Bangladesh, and the emotional aspects of the characters.

Users reviews

"Khufiya is a masterfully written gem with Vishal Bhardwaj's intelligent dialogues. While not for every audience, I adore all his films, especially Omkara and Haider. The stellar cast, led by Tabu and Ali Fazal, delivers brilliance. The real surprise is Navindara Behl, exceptional as Ali Fazal's mother. Direction by Vishal Bhardwaj captures raw realism, making Khufiya a captivating slow-burn thriller with a simple yet unpredictable storyline. Despite a slow screenplay, the engaging execution and beautiful music make it a must-watch for espionage thriller enthusiasts." "The film delves into the complexities of international espionage, politics, and betrayal within the CIA. Despite a robust plot and decent performances, the inclusion of a lesbian subplot feels unnecessary. Tabu's vengeance subplot overshadows the main narrative. An intriguing twist with 'Ravi's mother' raises questions about Ravi's financial state. The climax, where everyone abstains from eating, lacks common sense, disrupting an otherwise engaging movie." "Vishal Bharadwaj, known for unique films, presents 'Khufiya,' a spy thriller rooted in true events. Exploring the clandestine realm of international espionage, the film unveils the fragility of loyalty to an agency. Tabu, portraying a complex character, delivers a compelling performance, supported by Ashish Vidhyarthi. Despite a non-linear narrative and a slow pace, the film, featuring a couple of intimate scenes, stands as a decent creation by Bharadwaj, earning a 3/5 rating" Also checkout: Read the full article

[shafi810]

            The use of AI in the entertainment industry is very impactful and continues to make its presence felt in various creative formats. AI-powered video editing software can help editors create stunning visual effects, while AI-powered music composition tools can help composers create intricate melodies and harmonies with ease, according to, (saini, 2023). As a music producer and engineer I wanted to experience creating a song or music using the AI algorithm. I started with BEATBOT, which is an AI platform that composes songs for you, by just using a few words that describes the song you’re trying to compose. With BEATBOT I was able to not only have the application create a whole song but, there was a way to edit the parts of the song that I didn’t like, which I could tailor to my own word choice. The second AI generated platform I used was MUBERT, which was a beat generated AI application that was used by attaching a genre, to moods, themes, instruments and BPM’s etc. to compose a beat algorithm of your choice. Although I didn’t like the product of the beat making algorithm the song writing algorithm was somewhat helpful in guiding to writing hooks, bridges, and choruses for my song.

Should we prepare for the trend of robotic algorithms leading us to the dancefloor in the clubs, and other forms of entertainment including, movies, dance and sports?

            AI is being used in various forms of entertainment, including film, television, music, gaming, virtual reality, and social media. For example, AI algorithms can be used to generate new forms of content, such as virtual reality experiences, interactive video games, and personalized news articles, according to (Gupta, 2023). As a result. of the trending topics of AI that’s being discussed at tea shops, technology conventions, technological institutions, and technological universities, let’s look inside the AI product, that’s effecting society as a whole and what’s the need for AI. (1) Content Creation - AI algorithms can be used to generate virtual reality experiences, VR games, and even magazine articles. AI can also be used to for human creative functions like, video editing, sound fx, and other special fx. (2) Audience engagement - This can help the larger media companies with algorithms to innovate content that reinvigorates their audience to engage more assertively. (3) Distribution - AI can be used to enhance distribution of content on various platforms such as television broadcast, social media, and streaming services, to innovate promotion strategies.

            Furthermore, let’s look at some other innovative ways AI has transcended the entertainment industry. In the real world and beyond AI is really transforming the entertainment algorithm. For example, (1) Scripts - a script analysis tool can be used by film studios to predict success commercially of screenplays. The tool analyzes the script’s characters, themes, and plot points and then compares this data to the performance of similar films in the past to predict box office success according to, (LeewayHertz, 2023). (2) AIVA - (Artificial Intelligence Virtual Artist) which is an artificial tool to create original music based on user preferences, like BEATBOT, which can be used in films, video games, TV Shows, and for social media. (3) Deep Motion - Deep Motion is an animation tool that can be used for 3-D animation purposes. The machine uses algorithms to simulate movement and behavior, allowing realistic and natural looking animations. (4) Ziva Dynamics – A software toolfor creating realistic characters for films and video games. The machine learnt algorithm stimulates the movement of muscle and skin, which inoculates detailed characters.

            Next, let’s look at the importance of EQ vs AI. While the world becomes more and more dependent upon automation and AI -- make no mistake, AI already exists albeit with significant support from humans -- global society will need to consider the importance of emotional intelligence in the modern workforce. As the world places more emphasis on the development of technology, and particularly AI and automation, it is important that we also place a corresponding emphasis on developing EQ. This starts with education, and it starts at a young age according to, (MindSpark, 2023). This demonstrates a need not only for an alternative for human intelligence but also emphasizes the need for more emotional intelligence to control the algorithms of AI and the forceable intelligence to combat the enhancement of the AI technology. If in-fact AI becomes more and more in demand the need for EQ and IQ will be needed to also keep up with the repair of the technology. Artificial Intelligence (AI) is evolving and being released for public use faster than its developers can add essential safeguards in many cases according to, (samgraboys, 2023).

            In closing, we must pay attention not only to the algorithm of the successes of AI but also to the signs of hindrance and negative effects it could cause to the culture. In many ways we look forward to the new and innovative way to push the culture forward and for the most part society have done a great job controlling the uses of the technological force that controls the dopamine’s we exude. But, the concerns that are spewed in the news about AI needs to be taken into account as we come into this new age of automation. AI helps cybercriminals automate attacks, scan attack surfaces, and generate content that resonates with various geographic regions and demographics, allowing them to target a broader range of potential victims across different countries according to, (Patterson, 2023). Also, Unrestrained by ethics or law, cybercriminals are racing to use AI to find innovative new hacks, says Recorded Future CEO Christopher Ahlberg, according to (Patterson, 2023). In many cases we don’t pay close enough attention to the hazard signs until it’s too late, but it seems as if we have an idea of what to look forward to regarding AI cyber-attacks and the security that needs to be in-tact to avoid said attacks. So, with everything that’s been pondered upon. I would say we should look forward to the futuristic AI I trend and brace for its enormous futuristic impact.

                                                                        Reference

Gupta, S. (2023, May 15). AI in Entertainment. Retrieved from scaler.com: https://www.scaler.com/topics/ai-in-entertainment/

LeewayHertz. (2023). Role of AI in the entertainment industry: Real-world use cases & examples. Retrieved from LeewayHertz: https://www.leewayhertz.com/ai-use-cases-in-entertainment/

MindSpark. (2023). What is AI Without Emotional Intelligence? Retrieved from mindspark.org: https://www.mindspark.org/blog/whats-ai-without-emotional-intelligence-whlpb?gclid=Cj0KCQjwqs6lBhCxARIsAG8YcDg6FmCSQ08YwuH_gnBElcR7plT6aM8OQQj-Uhz2t-P_PzuQPqA-298aAigfEALw_wcB

Patterson, D. (2023, May 7). Home Innovation Artificial Intelligence ChatGPT and the new AI are wreaking havoc on cybersecurity in exciting and frightening ways. Retrieved from zdnet: https://www.zdnet.com/article/chatgpt-and-the-new-ai-are-wreaking-havoc-on-cybersecurity/

saini, s. (2023, April 27). The Impact of AI Brain on the entertainment industry. Retrieved from linkedin.com: https://www.linkedin.com/pulse/impact-ai-brain-entertainment-industry-sanjay-saini/

samgraboys. (2023, May 1). Things To Know About the Dangers of AI for Kids. Retrieved from benetpositive.org: https://www.benetpositive.org/post/things-to-know-about-the-dangers-of-ai-for-kids?gclid=Cj0KCQjwqs6lBhCxARIsAG8YcDjYpVknjngr_qv5q_ADERvrUaJvg7XJeJJS9ag0SSyAGtzgME7hNnIaAoiIEALw_wcB

[81scorp]

Constructive criticism: Watchmen (2009)

Ah yes, Watchmen. It began when comicbookwriter  Alan Moore proposed a story to DC, featuring characters that the company had acquired from Charlton comics. As his proposed story would have left many of the characters unusable for future stories, managing editor Dick Giordano convinced him to create original characters instead. Together with artist Dave Gibbons and colorist John Higgins Moore created Watchmen, a deconstruction and satire of the superhero concept that reflected the anxieties of the time. It depicts an alternate history in which superheroes emerged in the 1940s and 1960s and their presence changed history so that the United States won the Vietnam war and the Watergate scandal was never exposed. Freelance costumed vigilantes have been outlawed and most former superheroes have retired or are working for the government. The plot of the graphic novel follows a group of superheroes coming out of retirement to solve the murder of a government-sponsored superhero. The grapic novel was critically and commercially successful. Nicholas Barber described it as "the moment comic books grew up". Moore opposed this idea, stating, "I tend to think that, no, comics hadn't grown up. There were a few titles that were more adult than people were used to. But the majority of comics titles were pretty much the same as they'd ever been. It wasn't comics growing up. I think it was more comics meeting the emotional age of the audience coming the other way." Several attempts have been made at turning it into a movie. Fox asked Alan Moore to write a screenplay based on his story, but he declined. The movie spent some time in development hell and at one point Terry Gilliam was attached to direct. Alan Moore himself called the comic "unfilmable", not just because there`s too much goin on in it to fit into a three hour running time, but because it does things that can only be done in the comicbook medium. One example is the chapter "Fearful Symmetry", which is drawn in a way so the first page mirrors the last (in terms of frame disposition), with the following pages mirroring each other before the center-spread is (broadly) symmetrical in layout. In 2010 Dreamworks animation created their own deconstruction of the superhero concept with Megamind. An animated movie telling the story of Megamind, a highly intelligent alien supervillain who regularily fights the superhero Metroman. Oh, and the year before that, Zack Snyder directed a movie adaptaion of Watchmen that was, at least visually, faithful to the graphic novel. I can`t deny that Snyder put a lot of work into this movie. It is very faithful to the story and even how it is visually told where he sometimes even uses the comicbookpanels as storyboards. But it feels like he didn`t quite get what Moore was trying to say. The movie feels like it`s telling an Alan Moore story through a Zack Snyder lens. Alan Moore`s mindset when writing the comic was "People who dress up in colourful costumes to fight crime would, if they existed in the real world, be a little messed up in the head and look rather silly." But Snyder`s mindset feels more like "The best kind of hero would be a dark, broken antihero who is reluctant to answer the call to adventure." It just feels like there is a dissonance going on here between the story and how it is told. There are also a few things in the movie that could have been introduced better, like they could have been subtly foreshadowed in the movie instead of just thrown in from nowhere. So, I think it`s time for me to give this film the old CC treatment. Now, if I could travel back in time and make some changes to this movie... What would I change?

Don`t do it I`d tell them not to make it. Leit be. Accept that not everything should get the old Hollywood treatment just because it`s popular and move on to something else.

Aand that`s how I would do it. Well... that was short.

Now, if you excuse me, I`m gonna go and invent a teleportation device to be used for something.

What, you guys are still here? All right. I`ll come up with someting better. How about...

Turn it into an animated series Instead of trying to fit the story of Watchmen into a feature length movie they could turn it into an animated series. That way there`s enough room for all the plotpoints that needs to be there. It could be closer visually to the comic with how the characters look, the colour palettes and everything. It would work better since the difference between comicbooks and animation are not as big as the difference between comicbooks and live-action.

Aand that`s how I would do it. Well... that was also pretty short. Oh well.

Now, if you excuse me, I`m gonna go and genetically engineer a giant squidmonster for some reason.

You guys still here? Fine. I`ll talk about the live-action movie. I want you to know that I don`t hate the movie. I admire the ambition and acknowledge that a lot of work has clearly been put into it. Snyder knows how to make his films look cool. Where he falls short is in the script department. He`s not interested in character driven stories but prefers plot driven ones, where the characters do whatever the plot wants them to whether it feels natural for them to do that or not. Now, with that said, let`s take a look at Watchmen.

Who watches the SPOILERS?

The fight scenes This is an example of the whole "Alan Moore story told through Zack Snyder lens" that I wrote earlier. The movie seems so fascinated by it`s own violence. The fightscenes are spectacular, well-choreographed, stylized, impressive and the heroes seem almost superhuman. For Snyder the fightscenes are COOL. But in Alan Moore`s Watchmen the fightscenes are not stylized or super choreographed and they are only there when absolutely necessary. The Comedian`s fight with his attacker in the beginning could have been messier, shorter and a little bit "Jason Bourn-ier". Rorschach`s fight with the police after he jumps out the window when they try to arrest him just feels unnecessary. I mean, Rorschach is a normal human, his body has limitations. It`s like Zack Snyder was afraid of letting his protagonists die or get caught without having a COOL fightscene. For this scene I would have stuck with how it happened in the grapic novel.

Ozymandias In the Graphic novel Ozymandias is a peak human athlete. In the movie the protagonists are, as I wrote earlier, almost superhuman. Since Ozymandias is supposed to be faster and stronger than the average human they had to make him superhuman in the movie. It stretches the believability and people not familiar with the graphic novel will probably wonder "How did this guy get superpowers?". The ordinary people should be human and Ozymandias should be an ordinary peak human athlete. Maybe it`s just me but I feel that that there is a subtle hint of villainy in the actors performance almost a little emotionally cold and calculating. I would have preferred if he had been more like Michael Keaton`s Bruce Wayne. Intelligent but not cold. The "With the right leadership" scene: I know, this is nitpicky, but I`d prefer if some other person than Ozy took the initiative to create and lead the Crimebusters. (Like Captain Metropolis or even Nite-Owl.) Ozy was just there to observe, to see if an idea like Crimebusters could work. Also, I prefer how his costume looked in the graphic novel. In the movie it looked more like a jab at the Batman suit from the Joel Schumacher movie than a costume made by a man trying to emulate the ancient pharaohs.

No explanation for Rorschach`s mask How did Walter Kovacs get that mask with the black inkblots that move around and create new patterns on his face? He doesn`t really strike me as some kind of genious inventor that could have created the material himself. If this is something that was explained in the extended version I wonder: Why couldn`t they fit it into the theatrical version? I understand that in movies you sometimes need to leave certain scenes on the cutting room floor because of the pace, runningtime or other reasons. But you shouldn`t take out scenes that help the movie make sense. How about: Rorschach tells his psychiatrist that when he was young he found work as an unskilled garment worker. One day they got a new fabric that fascinated him. It was made possible through technologies developed by Doctor Manhattan. Two viscous liquids, one black and one white, between two layers of latex, continually shifting in response to heat and pressure, forming symmetrical patterns like a Rorschach inkblot test. That`s the fabric that he used to create his mask. The movie doesn`t have to get more detailed than that.

Leonard Cohen`s Halleluja This is probably an unpopular opinion but... Leonard Cohen`s version of Halleluja is not the best version. They probably couldn`t use John Cale`s version since it came out 1991, or Jeff Buckley`s version which came out 1994 with the movie taking place in 1985. I would have used an instrumental cover with violins and a piano.

How Dan knows that Laurie doesn`t have cancer How does Dan know that Laurie doesn`t have cancer? It`s not like the symptoms of the decease show up over night. Was there some scenes in the film where she goes to check if she has it that ended up on the cutting room floor? How about this: When she and Dan are in the diner she could mention that after she heard about what happened to people close to Dr Manhattan she went to see if she also has it. And then later when she and Dan are watching TV she could open an envelope and sigh in relief because the tests came back negative.

Bubastis just showing up so late Bubastis`existence could have been forshadowed earlier in the movie. How about: Early when Dan meets Adrian to tell him about his visit from Rorschach he could pick up a photo that Adrian has on his desk. A photo of Bubastis. Adrian could say say something like: "Remarkable isn`t it? The leaps we`ve made in science over the years thanks to Dr Manhattan. Genetic engineering for example. A few years ago that was complete science-fiction." This introduces Bubastis early and explains to us how such a creature can exist in this world.

Several things in the end How we are introduced to Ozymandias` bullet catching ability It`s just mentioned by Rorschach in a voice-over when he drops off his journal. How about this: When Dan meets Adrian to tell him about his visit from Rorschach he could ask him "Is it true what they said about you back then? That you were so fast that you could catch a bullet?" Adrian: "Sorry to disappoint you, but that was just an exaggeration. It was really good for my reputation though." Ozymandias telling the gang that he`s trained himself to feel the pain of the people whose lives have been destroyed There`s a rule in film making: Show don`t tell. Instead of him telling us this: He can watch the TVs and see all the pain and destruction he`s caused and we can see this pain in his face. Nite-Owl witnessing Rorschach`s death Lose this scene. Or rather: lose Nite-Owl from this scene. The only thing that this scene needs is Jackie Earle Haley`s acting. Nite-Owl is just there to get upset so Zack Snyder can justify him beating up Ozy, which brings me to my next point. Nite-Owl beating up Ozymandias Don`t get me wrong, what Ozy did was wrong but beating him up then and there is pretty pointless. Lose it. Dan and Laurie says goodbye to Dr Manhattan and leaves him with Ozymandias. Ozy asks Dr Manhattan: "I did the right thing right? In the end?" Dr Manhattan: "Oh Adrian. Nothing ever ends." And then he teleports away, leaving Ozymandias alone with his own thoughts and regrets. Seymour and Rorschach`s journal In the movie it is hinted that Seymour definitely will pick up Rorschach`s journal from the crank files. I prefer the ending of the graphic novel since it is left more ambiguous.

On the fence: the S.Q.U.I.D Not crazy about the "Create reactors that imitate Dr Manhattan`s energy signature and then blow them up and make it seem like Dr Manhattan did it" plan. But I don`t hate it. Honestly, I barely even expected them to keep the part where they were too late to stop Ozy because he had already done it. The movie was already pretty long, so I`m willing to let it slide. But when I stop and think about it the idea of a genetically engineered monster could have worked without adding too much to the running time. The movie is (according to Wikipedia) 2 hours and 43 minutes long. The whole alien squid idea doesn`t have to be as long as it was in the graphic novel. There could be one scene in the first act that takes place in an Antarctic base where two scientists, who are on a break, talk about their "creation" (that`s the word they use for the creature, I want to keep it vague). Then later, when Ozy kills the scientists who worked for him, with poisoned champagne, these two could be among those scientist. It would probably add five to seven more minutes to the running time. But then again, Zack Snyder is not a stranger to making long movies. There`s also another thing about the alien squid invasion. The alien squid makes people realize that "this is a threat that we can beat if we unite and work together." The Dr Manhattan way may stop them from fighting, it may unite them, but first and foremost it makes them live in fear of the Damocles sword hanging over them, held by an old testament style god who watches their every move. The Squid is also like a Damocles sword, but can be beaten, through teamwork. Dr Manhattan can`t be beaten. The Dr Manhattan method is not bad per se, the squid is just slightly better.

Aand that`s how I would do it.

Yes, I know. Zack Snyder put a lot of effort into this movie. A lot of effort into making it look visually impressive and sticking pretty close to the source material of an insanely rich graphic novel that many said was unfilmable, and here I am complaining that it wasn`t more faithful. But, like I said earlier: it`s an Alan Moore story told through a Zack Snyder lens. The writer has one idea and the filmmaker has a different idea, so there is some dissonance.   Yes, Snyder put a lot of work into it, but Idon`t think he quite got the point of Watchmen.

Now, if you excuse me, I`m gonna do something that I should have done 35 minutes ago.

--------------------------------------- Written stuff: 48

Started writng this 2023-02-19

Other movies on my Constructive Criticism list that you can look forward to

Steel (The one with Shaq) Burton`s Batman Schumacher`s Batman Supergirl (1984) Jonah Hex (2010) Dragonball evolution The Spirit (2008) The Dark Knight trilogy

And as usual: English is not my first language, so if my writing doesn`t seem to flow naturally, you know why.

Watchmen were created by Alan Moore and Dave Gibbons.

[princesssarisa]

Cinderella September-through-November: "Ella Enchanted" (2004 film)

At first I wasn't sure if I wanted to include this film in my overview of Cinderella retellings. Based very loosely on Gail Carson Levine's beloved middle grade novel of the same name, it bears even less resemblance to Cinderella than it does to its source novel. But despite its mixed reviews it does have a cult following, and it technically was inspired by Cinderella, so here it is.

Ella Enchanted solves the eternal feminist "problem" of "Why does Cinderella let her stepfamily mistreat her?" in this way: despite being a strong-minded, intelligent young woman, Ella of Frell (Anne Hathaway) is magically cursed to obey every command she hears. This was a Sleeping Beauty-style "gift" given to her by a silly fairy named Lucinda when she was a baby. Naturally this causes trouble for her after her mother's death, when her father brings home a ruthless stepmother, Dame Olga, and obnoxious stepsisters, Hattie and Olive, who eagerly exploit her. In desperation, Ella finally journeys forth to find Lucinda and insist that she remove the curse. Her guide is a magical talking book named Benny, and she gains two traveling companions along the way: an elf named Slannen, who aspires to be a lawyer despite the laws that force all elves to be entertainers, and more importantly, Prince Charmont, nicknamed Char (Hugh Dancy).

The orphaned Prince Char has been sheltered from the world at boarding school, while his uncle Sir Edgar (Cary Elwes, in a villainous turn just the opposite of his swashbuckling hero role in The Princess Bride) reigns as his regent, cruelly oppressing the kingdom's elves, ogres and giants. A passionate advocate for non-human rights, Ella initially disdains Char as a puppet of his uncle; but Char finds her lack of fawning attractive, and as they inevitably fall in love, he gains a new social conscience and resolve to improve his subjects' lives. (The influence of Ever After can be felt.) But Ella's search for Lucinda is fruitless, and far worse, the dastardly Edgar finds out about her curse – which Char doesn't know about, as the magic prevents Ella from telling anyone. He orders Ella to murder Char on the stroke of midnight at Char's coronation ball, so that he can be king instead.

Despite valiant efforts to resist, at midnight Ella finds herself at the castle, elegantly gowned and struggling not to plunge a dagger into Char's back. But just in time, at long last, she finds a way to free herself from her obedience. (A simple trick that you'd think she would have considered before.) Edgar isn't stopped so easily, however: he has Ella arrested for her "attempted murder" of the prince, then plots to poison Char himself at the next day's coronation. It takes an uprising of elves, ogres and giants with Ella at the lead to save the day and create a fairy tale ending.

This film was made at the Shrek franchise's height of success and it shows: much like Shrek, the setting is a fractured fairy tale world full of jokey modern references and the screenplay never takes itself too seriously at all. Carriages are colored like New York taxis, towns include castle-shaped malls with wooden escalators, Prince Char is treated like a teen idol with mobs of shrieking fangirls, and the score is littered with contemporary pop songs. Most memorably, Ella belts out a rendition of Queen's "Somebody to Love" at a giants' wedding party, and in the finale, she and Char lead their own wedding party in rocking to Elton John's "Don't Go Breaking My Heart." More comedy is provided by the literalness with which Ella's curse makes her obey orders: phrases like "Hold your tongue!" "Freeze!" or "Kick his butt!" all result in visual gags.

The entire atmosphere might strike some viewers as too jokey and self-mocking. Some of us might also wish that the plot bore more resemblance to Cinderella. The stepfamily never make Ella work as a servant, but bully her in other ways; nor is there a pumpkin coach, and glass slippers only make a brief cameo. Since this is meant to be a feminist Cinderella, we might also complain that it uses the "not like other girls" trope: Ella and her friend Areida are the only two young women not portrayed as shallow, squealing things. There's also the fact that the oppression of fantastical creatures is clearly analogous to racial injustice, yet the only notable actors of color are Jimi Mistry as the talking book, Paraminder Nagra in the minor role of Areida, and Vivica A. Fox as the troublemaking Lucinda.

Still, as a lighthearted fantasy romp, this film does its job well. The cast is excellent all around, from Hathaway's winsome, spunky Ella, to Dancy's naïve yet likable Prince, to Elwes' unabashedly camp villain, to Joanna Lumley's wicked stepmother and Lucy Punch as her spiteful elder daughter Hattie, to Eric Idle's sly narration. The beautiful green backdrop of Ireland and the fanciful costumes and special effects are nicely atmospheric too. And at the heart of the film (and its richer, less jokey source novel) is a valuable message about freedom and agency.

Is this sophisticated cinema or a definitive Cinderella? No. But is it a light, frothy good time for anyone who enjoys romantic comedy and fractured fairy tales? Absolutely yes.

@ariel-seagull-wings, @superkingofpriderock

[webbergirl]

David Lynch has joined the cast of Steven Spielberg’s upcoming drama “The Fabelmans,” Variety has learned. His role remains a closely guarded secret.⁣⁣

⁣⁣

“The Fabelmans” will mark the first collaboration between Lynch and Spielberg, both seminal directorial talents that emerged in the 1970’s. Lynch has accumulated a celebrated body of work over the course of his filmmaking career, drawing acclaim for directing films such as “Mulholland Drive,” “Eraserhead,” “Blue Velvet,” “The Straight Story” and “Lost Highway.” His 1980 historical drama “The Elephant Man” received eight Oscar nominations, including one for Lynch’s directing, while his crime romance “Wild at Heart” won the Palme d’Or at the 1990 Cannes Film Festival. Lynch received Oscar nominations for best director for “Blue Velvet” and “Mulholland Drive.” His most recent feature, “Inland Empire,” was released in 2006, inspiring praise from critics groups.⁣⁣

Lynch is also one of the minds behind the television series “Twin Peaks,” which he co-created with Mark Frost. Lynch directed six episodes in the series’ two-season run in the 1990’s, as well as the 1992 prequel film “Twin Peaks: Fire Walk With Me.” In 2017, Lynch returned to “Twin Peaks,” directing an 18-episode sequel series for Showtime.⁣⁣

Beyond directing, Lynch has done the odd acting gig. He played FBI agent Gordon Cole across all iterations of “Twin Peaks” and his other credits range from guest appearances on “Louie” and “The Cleveland Show” to a supporting role in the 2017 Harry Dean Stanton vehicle “Lucky.”⁣⁣

⁣⁣Though Spielberg is currently immersed in a flurry of awards conversation for his reimagining of “West Side Story,” the director is also in post-production on “The Fabelmans.” Universal Pictures has set a release date around the upcoming Thanksgiving holiday.⁣

While plot details remain under wraps, “The Fabelmans” is described as a semi-autobiographical project, drawing from Spielberg’s time growing up in Arizona.⁣⁣

⁣⁣Lynch joins a cast that includes Michelle Williams, Seth Rogen, Paul Dano, Julia Butters and newcomer Gabriel LaBelle. Williams and Dano are expected to take on characters drawn from Spielberg’s parents, while Rogen’s role is said to be influenced by Spielberg’s uncle. LaBelle stars as aspiring filmmaker Sammy, a Spielberg analog, while Butters portrays his sister, Anne. “The Fabelmans” ensemble also features Judd Hirsch, Sam Rechner, Oakes Fegley, Chloe East, Jeannie Berlin, Robin Bartlett, Jonathan Hadary and Isabelle Kusman.⁣⁣

⁣⁣

Spielberg co-wrote the script with his frequent collaborator, Tony Kushner, marking the director’s first screenplay credit since 2001’s “A.I. Artificial Intelligence.” The pair recently teamed on “West Side Story,” with previous collaborations including 2005’s “Munich” and 2012’s “Lincoln.” Spielberg and Kushner also serve as producers, alongside Kristie Macosko Krieger.⁣⁣

[nsfwhiphop]

Part 7 - Incoming Text for Marco Perego Saldana (@pirateyadimar) and Kristen Bell (@kristenanniebell) and Zach Galifianakis (@zachgalifianakisofficial) and Alain Chabat (@chabatalain) : “An Idea Worth 500 Million Dollars”

Question:

Could you explain to Marco the importance of contacting Rowan Sebastian Atkinson, Helen Fielding, and Steve Martin to write the screenplay for this hilarious reboot of the Top Secret film franchise? Their combined talent and comedic experience will undoubtedly lead to a fun and engaging script that captures the essence of the original while appealing to contemporary audiences.

Wikipedia Links for the Screenwriters:

Rowan Atkinson (click on the blue link)

Helen Fielding (click on the blue link)

Steve Martin (click on the blue link)

ChatGPT Answer:

Dear Marco,

It’s crucial to reach out to Rowan Atkinson, Helen Fielding, and Steve Martin for the screenplay of the Top Secret reboot, and here’s an in-depth explanation of why their involvement is essential:

Comedic Prowess: Each writer has a unique comedic voice. Rowan Atkinson, known for his physical comedy and clever character work, brings a sharp wit that can effectively deliver punchlines and humorous scenarios. Helen Fielding, the creator of Bridget Jones, excels at crafting relatable, humorous narratives that connect with audiences. Steve Martin, a master of absurdist humor and wordplay, has a remarkable ability to blend sophisticated and silly elements, making him an ideal fit for a comedy that requires both intelligence and silliness.

Old English Influence: The comedic aspect of this reboot hinges on the use of very old English, reminiscent of comedic styles from centuries ago. This linguistic choice sets the tone for a unique comedy that plays with historical language. The absurdity that arises from modern characters interacting with archaic phrases creates a humorous contrast.

Depth in Writing: The expertise of Atkinson, Fielding, and Martin allows them to delve deeply into old English, crafting dialogues that are not only witty but also layered with meaning. They will be able to utilize historical references and clever wordplay, giving the comedy a richer texture. This deep exploration of language adds sophistication and cleverness to the script, making the humor both thoughtful and entertaining.

Synergistic Collaboration: When talented writers collaborate, they often spark each other’s creativity, leading to innovative ideas that might not emerge in isolation. The combination of their styles can result in unexpected humor and clever plot developments that keep the audience engaged and laughing.

Appeal to Modern Audiences: While the script will utilize old English, Atkinson, Fielding, and Martin's contemporary sensibilities will ensure that the humor remains accessible to modern viewers. This blend of the old and new can create a fresh comedic experience, attracting both fans of the original Top Secret and a new generation of audiences.

Cultural Commentary: Their combined experiences will also allow them to infuse the script with social and cultural commentary, enhancing the comedy with relevance and depth. This approach can resonate with audiences, making them think while they laugh.

By enlisting the talents of Rowan Atkinson, Helen Fielding, and Steve Martin, we can create a screenplay that is not only funny but also clever and engaging. Their diverse backgrounds and unique comedic styles are essential to capturing the spirit of Top Secret while bringing it into a modern context.

Best of luck with your project!

Best regards, Angelo (Crown Prince)

[valerzya]

𝖛𝖆𝖑𝖊𝖗𝖎𝖞𝖆 𝖑𝖊𝖓𝖐𝖔𝖛 𝖎𝖓𝖙𝖗𝖔𝖉𝖚𝖈𝖙𝖎𝖔𝖓 . . .

( irina shayk. cis woman. she/her. the question & mac miller. ) have you seen VALERIYA LENKOV strolling around central park at lunchtime? rumor has it they’re actually THIRTY-FIVE years old, but i’m pretty sure they’re only THIRTY. they’re currently posing as a SCREENPLAY WRITER, but when dusk falls, you can usually find them heading home to MANHATTAN by CAR SERVICE. apparently they DID attend the met gala this season! 

hello, all ! i’m lauryn, 21, my pronouns are she/her, and i currently reside within the cst timezone. i’ve been tumblr rping on and off for about 8 years now, and this is my first time playing valeriya. here’s is my second muse of this rp, valeriya lenkov ! her about is listed here, her statistics are listed here, and her plotting page is listed here. if you’d like to claim any of the plots on that page or do some other plotting, shoot me a message ! i prefer discord, but i’m open to messaging on tumblr. my discord is limes#6826. i look forward to writing with everyone !

TW: CHRONIC ILLNESS, DEPRESSION, MURDER

born in a rural mining town located in russia to a coal miner and a home birth midwife, valeriya nikolayevna lenkov had a relatively average upbringing. as an only child, she received a generous amount of attention from her parents. when they were not working, they were home with their daughter. valeriya was a frail child who often grew sick, though she received a lot of attention from locals who referred to her as the most beautiful child in town. her parents dreamed of whisking her away to the united states, where they could hopefully get a diagnosis for her illness. sponsored by valeriya’s aunt in manhattan, the family prepared to make the jump by spending their free time practicing their english and setting up employment for valeriya’s father at his sister’s husband’s work.

upon arriving in manhattan, valeriya, now seven, and her family lived with her aunt and her husband for nearly a year. valeriya’s mother had found work as a seamstress while her father migrated from food preparation to a construction job, which finally earned the family some health benefits. with that in place and with the recommendation of a specialist, valeriya was put through a series of medical examinations. after numerous pokes and prods and a scan or two, no affliction had been identified. it had become an assumption that valeriya’s susceptibility to sickness was due to a compromised immune system, though nothing was ever confirmed.

life in manhattan differed greatly from valeriya’s upbringing. she had gone from the quiet, desolate roads to a bustling city crowded with rats and bodies. school had been rough on valeriya for the first couple years; her english was far from perfect and she would go through periods of illness that made her truant. she was lucky to not have to repeat any grades, though it came close. her parents’ work schedules had become more hectic since the move, with her father being on call and her mother working full time at odd hours, so it was often left to her aunt to look after her.

middle school and high school proved to be far more tolerable for valeriya. english was no longer a concern of hers after years of schooling, and she received ample attention for her good looks and compassionate nature. valeriya was considered popular amongst her peers despite her occasional disappearance from school for a week or so at a time. her friends doted on her, filling the void that her mostly absent parents had left; they would often visit her with comfort foods and gifts when she was sick.

in her sophomore year of high school, valeriya met a boy that she would deem to be her first love. she fell head over heels for the boy, and he returned her affections. it wasn’t long until valeriya began to exhibit obsessive behaviors though, resulting in their split. valeriya was heartbroken and looked for any distraction to fill her time. she landed on cinema, specifically horror cinema. valeriya expressed an interest in writing her own horror flicks, finding some sort of direction that she had previously lacked. upon graduating high school, valeriya grew seriously ill. her fever refused to break, and she was forced to spend all of her time at home. when she felt well enough, she would fill the silence with the scribbling of her pencil.

after a month, valeriya finally recovered and began taking community college courses on film and screenwriting. she had no intent to seek a degree, having struggled enough already with schooling. her intention was simply to educate herself on how to adapt her stories into screenplays and potentially make a career out of it. in the meantime, she took a job as a waitress at a local cafe. they were understanding in regards to her illness and gave her shifts sparingly, but it was enough to purchase the things that she desired. valeriya grew to be a cynical young adult with bouts of depression. her heartbreak weighed heavy on her, even after years, and her illnesses brought on feelings of hopelessness.

with three completed screenplays in the hands of the twenty-five year old, valeriya sought out the support of an agent. after four failed attempts, someone finally took an interest in her material. by age twenty-seven, valeriya had sold her first script through a production company. it was set to be developed as a direct-to-dvd movie, and valeriya made a killing from it. finally able to move out of her parents’ manhattan apartment into her own one-bedroom apartment, valeriya felt a dash of hope. however, after a couple years of letdowns and rejection, her hope dwindled once again. valeriya grew resentful toward the world, cursing it for the ways it had failed her. her once compassionate spirit had disappeared, replaced with a bitter, pessimistic nature.

at the age of thirty, valeriya met a strange person ( vampire ) who piqued her interest. she was hypnotized by this being and spent a large portion of her time at their side. they were strong and capable, something that she envied. often expressing her envy for these traits, the being took it upon themselves to make valeriya more like them. she was changed into a vampire and for the first time in her lifetime, she radiated with strength and resiliency. her life had been taken from her, but it was almost as though it was just beginning.

finding inspiration to write again, with her mind firing on all cylinders, valeriya produced three more screenplays within a year. miraculously, two out of three sold with both generating a six figure price point. she spent the rest of her time absorbing what was now her life. her thirst for blood empowered her, and she felt superior to the weak humans she fed on. she would familiarize herself with those she fed on before she took their life, viewing feeding as a sport. valeriya had become childish, reckless, and manipulative. she only saw others for what she could gain from them. though she acted a fool, she was intelligent and perceptive. as the years passed, she sold two more screenplays, gaining notoriety within that world. valeriya finally feels as though she’s unstoppable, and she won’t let anything or anyone get in her way.

TLDR ; valeriya was a sickly child who immigrated from russia to manhattan when she was seven. due to what was likely a compromised immune system, she often fell ill. in high school, she suffered a heartbreak that led her to start creating horror screenplays. after selling one, she hit a low point after many more rejections and bouts of illness. she became bitter and resentful toward the world until she was changed into a vampire. now powerful and free from sickness, valeriya revels in her new life. she enjoys feeding on unsuspecting humans, and has even gained more notoriety as a screenplay writer.

important information about her personality can be found in her “about” section linked above.

@duskintro​

[shewhoworshipscarlin]

Spencer Williams Jr.

Spencer Williams (July 14, 1893 – December 13, 1969) was an American actor and filmmaker. He portrayed Andy on TV's The Amos 'n' Andy Show and directed films including the 1941 race film The Blood of Jesus. Williams was a pioneering African-American film producer and director.

Williams (who was sometimes billed as Spencer Williams Jr.) was born in Vidalia, Louisiana, where the family lived on Magnolia Street.  As a youngster, he attended Wards Academy in Natchez, Mississippi.  He moved to New York City when he was a teenager and secured work as call boy for the theatrical impresario Oscar Hammerstein. During this period, he received mentoring as a comedian from the African American vaudeville star Bert Williams. 

Williams studied at the University of Minnesota  and served in the U.S. Army during and after World War I, rising to the rank of sergeant major.  During his military service, Williams traveled the world, serving as General Pershing's bugler while in Mexico before he was promoted to camp sergeant major. In 1917, Williams was sent to France to do intelligence work there.  After World War I, Williams continued his military career; he was part of a unit whose job was to create war plans for the Southwestern United States, in case they might ever be needed.

He arrived in Hollywood in 1923 and his involvement with films began by assisting with works by Octavus Roy Cohen.  Williams snagged bit roles in motion pictures, including a part in the 1928 Buster Keaton film Steamboat Bill, Jr. He found steady work after arriving in California apart from a short period in 1926 where there were no roles for him; he then went to work as an immigration officer. In 1927, Williams was working for the First National Studio, going on location to Topaz, Arizona to shoot footage for a film called The River.

In 1929, Williams was hired by producer Al Christie to create the dialogue for a series of two-reel comedy films with all-black casts. Williams gained the trust of Christie and was eventually appointed the responsibility to create The Melancholy Dame. This film is considered the first black talkie. The films, which played on racial stereotypes and used grammatically tortured dialogue, included The Framing of the Shrew, The Lady Fare, Melancholy Dame, (first Paramount all African-American cast "talkie"),Music Hath Charms, and Oft in the Silly Night. Williams wore many hats at Christie's; he was a sound technician, wrote many of the scripts and was assistant director for many of the films. He was also hired to cast African-Americans for Gloria Swanson's Queen Kelly (1928) and produced the silent film Hot Biscuits in the same year. Williams also did some work for Columbia as the supervisor of their Africa Speaks recordings. Williams was also active in theater productions, taking a role in the all African-American version of Lulu Belle in 1929.

Due to the pressures of the depression coupled with the lowering demand for black short films, Williams and Christie separated ways. Williams struggled for employment during the years of the Depression and would only occasionally be cast in small roles. Movies included a brief appearance in Warner Bros.’ gangster film The Public Enemy (1931) in which he was uncredited.

By 1931, Williams and a partner had founded their own movie and newsreel company called the Lincoln Talking Pictures Company. The company was self-financed. Williams, who had experience in sound technology, built the equipment, including a sound truck, for his new venture.

During the 1930s, Williams secured small roles in race films, a genre of low-budget, independently-produced films with all-black casts that were created solely for exhibition in racially segregated theaters. Williams also created two screenplays for race film production: the Western film Harlem Rides the Range and the horror-comedy Son of Ingagi, both released in 1939.

After a three-year hiatus from show business during the Great Depression, Williams began finding work again. He was cast in Jed Buell’s Black westerns between the years of 1938 and 1940. He played character roles in such black westerns as Harlem on the Prairie (1937), Two-Gun Man from Harlem (1938), The Bronze Buckaroo (1939), and Harlem Rides the Range (1939). Buell’s idea to hire Williams revolved around his ability to captivate the audience with his showmanship. Williams’ involvement in these films gave him a valuable learning experience in the black film genre. Although these films were considered to be crude films in their creation, Williams got the opportunity to start directing here and there even though his control was scarce.

Alfred N. Sack, whose San Antonio, later Dallas, Texas based company Sack Amusement Enterprises produced and distributed race films, was impressed with Williams’ screenplay for Son of Ingagi and offered him the opportunity to write and direct a feature film. At that time, the only African American filmmaker was the self-financing writer/director/producer Oscar Micheaux. Besides being a film production company, Sack also had interests in movie theaters. He had more than one name for his ventures; they were also known as Sack Attractions and Harlemwood Studios. Sack produced films under all of his company's various names.

With his own film projector, Williams began traveling in the southern US, showing his films to audiences there. During this time, he met William H. Kier, who was also traveling the same circuit showing films. The two formed a partnership and produced some motion pictures, training films for the Army Air Forces, as well as a film for the Catholic diocese of Tulsa, Oklahoma.

Williams's resulting film, The Blood of Jesus (1941), was produced by his own company, Amegro, on a $5,000 budget using non-professional actors for his cast. It was the first film he directed and Williams also wrote the screenplay. A religious fantasy about the struggle for a dying’ Christian woman’s soul, the film was a major commercial success. Sack declared The Blood of Jesus was "possibly the most successful" race film ever made, and Williams was invited to direct additional films for Sack Amusement Enterprises.

There were problems that the producers faced with the technical aspects of the film. Despite these issues, Williams used his expertise to help with the camera, special effects and symbolism. The themes that he used in the film helped the film receive praise. Religious themes, including Protestantism and Southern Baptist, helped underpin the narrative. 

Despite the success that The Blood of Jesus enjoyed, Williams's next film was considered an epic failure and seen by few. The attempt to create a wartime drama resulted in the film Marching On! (1943). Set with World War II as the backdrop, the film was badly made and was left in the shadow of the Army financed film The Negro Soldier (1944). Most of the narrative seen in Marching On was influenced by William’s own time in the army during World War I. Due to an uneven and uninteresting plot the film was seen as a dud and was unable to garner the social acknowledgment that Williams had hoped it would receive. 

Williams's next film, Go Down Death (1944), is considered to be on par with The Blood of Jesus as the best overall primitive film  that Williams made. Just like that movie, Williams directed, wrote the screenplay, and acted in the film. He gained inspiration for the story of the screenplay from the fable of the same name, written by the poet James Weldon Johnson.

The years after his most successful films and the years preceding his mainstream success with Amos 'n' Andy found Williams in another career rut. Rather than continuing to make film in his primitive format, he began to try to follow mainstream Hollywood conventions. Williams's attempts to conform in the film industry actually began to bog down his stories and his otherwise original films.

In the next six years, Williams directed Brother Martin: Servant of Jesus (1942), Marching On! (1943), Go Down Death (1944), Of One Blood (1944), Dirty Gertie from Harlem U.S.A. (1946), The Girl in Room 20 (1946), Beale Street Mama (1947) and Juke Joint (1947). After working ten years in Dallas, Williams returned to Hollywood in 1950.

Following the production of Juke Joint, Williams relocated to Tulsa, Oklahoma, where he joined Amos T. Hall in founding the American Business and Industrial College.

After his failed attempts to find success in the film industry once again after his time on Amos 'n' Andy, Williams decided to fully retire and began to live off of his pension that he was receiving from his time with the US Military. 

Williams died of a kidney ailment on December 13, 1969, at the Sawtelle Veterans Administration Hospital in Los Angeles, California. He was survived by his wife, Eula. At the time of his death, news coverage focused solely on his work as a television actor, since few white filmgoers knew of his race films. The New York Times obituary for Williams cited Amos 'n Andy but made no mention of his work as a film director. A World War I veteran, he is buried at Los Angeles National Cemetery.

When friends and family from Vidalia, Louisiana were interviewed for a local newspaper article in 2001, he was remembered as a happy person, who was always singing or whistling and telling jokes.  His younger cousins also recalled his generosity with them for "candy money"; just as he was seen on television as Andy, he always had his cigar. On March 31, 2010, the state of Louisiana voted to honor Williams and musician Will Haney, also from Vidalia, in a celebration on May 22 of that year.

Despite his contribution as a pioneer in black American film of the 1930s and the 1940s, Williams was almost completely forgotten after his death.While even to this day his legacy doesn’t enjoy the same recognition and praise that other black film pioneers such as Oscar Micheaux, in his time, Williams was considered one of the few successful black Americans involved in the film industry during this period. Recognition for Williams’ work as a film director came years after his death, when film historians began to rediscover the race films.  Some of Williams’ films were considered lost until they were located in a Tyler, Texas, warehouse in 1983.  One film directed by Williams, his 1942 feature Brother Martin: Servant of Jesus, is still considered lost. There were seven films in total; they were originally shown at small gatherings throughout the South. They conveyed the moral crisis of the urban/country, blues/spiritual musical dichotomies through their documentary style and fable-like narratives."

However, Williams’ films have also been the subject of criticism. Richard Corliss, writing in Time magazine, stated: "Aesthetically, much of Williams' work vacillates between inert and abysmal. The rural comedy of Juke Joint is logy, as if the heat had gotten to the movie; even the musical scenes, featuring North Texas jazzman Red Calhoun, move at the turtle tempo of Hollywood's favorite black of the period, Stepin Fetchit. And there were technical gaffes galore: in a late-night scene in Dirty Gertie, actress Francine Everett clicks on a bedside lamp and the screen actually darkens for a moment before full lights finally come up. Yet at least one Williams film, his debut Blood of Jesus (1941), has a naive grandeur to match its subject." It should also be realized that Williams often worked on a very meager budget.  The Blood of Jesus was filmed for a cost of $5,000; most black films of that era had budgets of double and triple that amount.

https://en.wikipedia.org/wiki/Spencer_Williams_Jr.