Showing posts with label John Witherspoon. Show all posts
Showing posts with label John Witherspoon. Show all posts

Wednesday, February 17, 2021

#28DaysofBlack Review: "HOLLYWOOD SHUFFLE" Still Has Something to Say

[Upon its release, Hollywood Shuffle felt like something that needed to be said.  It was time to say enough to the way Black people were portrayed in Hollywood film and television productions.  And yes, maybe some Black actors should have said no to stereotypical roles, as long as they didn't have bills to pay …]

TRASH IN MY EYE No. 16 of 2021 (No. 1754) by Leroy Douresseaux

Hollywood Shuffle (1987)
Running time:  81 minutes (1hour, 21 minutes)
MPAA – R
PRODUCER/DIRECTOR:  Robert Townsend
WRITERS:  Robert Townsend and Keenen Ivory Wayans
CINEMATOGRAPHER:  Peter Deming
EDITOR:  W.O. Garrett
COMPOSERS:  Udi Harpaz and Patrice Rushen

COMEDY

Starring:  Robert Townsend, Anne-Marie Johnson, Craigus R. Johnson, Helen Martin, Starletta DuPois, David McKnight, Keenen Ivory Wayans, Lou B. Washington, John Witherspoon, Eugene Robert Glazer, Lisa Mende, Dom Irrera, Brad Sanders, Conni Marie Brazelton, Sena Ayn Black, Jesse Aragon, Verda Bridges, Grand L. Bush, and Damon Wayans

Hollywood Shuffle is a 1987 American satirical comedy film from producer-director Robert Townsend.  The film focuses on the trials and tribulations of a Black actor limited to stereotypical roles who dreams of making it as a highly respected actor.

Hollywood Shuffle introduces Robert “Bobby” Taylor (Robert Townsend), a young black man aspiring to become an actor.  Bobby has been preparing for his audition for the lead role in Tinsel Town Pictures' new urban drama.  Entitled “Jivetime Jimmy's Revenge,” this movie about street gangs is full of stereotypes about African-Americans and Latinos.

Bobby's grandmother (Helen Martin) overhears the “jive talk” Bobby uses to practice his lines, and she vociferously expresses her disapproval, while Bobby's mother (Starletta DuPois) is more supportive.  Bobby wants to be a great actor so that he won't have to work at places like his current place of employment, “Winky Dinky Dog.”  Bobby's grandmother says that if he desires a respectable job, there is honest work at the post office.  Bobby believes that if he lands the role of Jimmy in Jivetime Jimmy's Revenge, everything will get better for his career and for his family.  But is that true?  As Bobby works towards his dream, the film also takes a satiric look at African-American actors in Hollywood and at Hollywood in general.

As far as I can tell, it has been over twenty years since I last saw Hollywood Shuffle.  Seeing it after such a long time, I find that it has actually aged well.  African-American actors have made great strides in the American film and television industry since Hollywood Shuffle's first release.  However, in some ways, African-American actors, indeed actors of color and non-white actors, continues to deal with stereotypes about who they are, what roles they should play, and in what kind of films and TV in which they should appear.

There are notions about the limited box office potential of films featuring African-American and non-white actors, especially when they have lead or major roles in films.  Because of that, Hollywood Shuffle's satire remains sharp, if for no other reason than that there are still Bobby Taylors and Bobbi Taylors dealing with casting directors that have concrete, incorrect ideas about the physicality of Black people and performers.

Meanwhile, Hollywood Shuffle is more than a satirical comedy about Hollywood.  It is also a comedy that is both a send-up of and tribute to Hollywood's most familiar genres.  Writers Robert Townsend, Keenen Ivory Wayans, and comedian Dom Irrera (who did not receive a screen credit as a writer) fashion numerous skits and sketches that fit well with the main story line, Bobby Taylor's quest.  “Sneaking into the Movies,” a send-up of the late film critics, Gene Siskel and Roger Ebert, is unforgettable and much-copied.  Sam Ace and “The Death of a Breakdancer,” a spoof of the detective movies of Hollywood's Golden Era, surprisingly works much better than one might think.  Having a villain like “Jerry Curl” (Keenen Ivory Wayans), with his curl activator addiction, helps.  “Black Acting School” is satire so savage that it is almost strident … almost.  And “ho cakes” is worth remembering.

I am still amazed at how much Townsend and his cast and crew got out of a one-hundred thousand dollar budget.  An exercise in guerrilla filmmaking, Hollywood Shuffle remains one of the top indie comedies and African-American films of the 1980s, showing that imagination, inventiveness, and working together for a common cause can overcome budget constraints … for the most part.

Yes, things are “better than they were.”  As long as white supremacy and white privilege reign in the United States, Hollywood Shuffle will always be relevant and also funny.

A-
7 out of 10

Tuesday, February 16, 2021


NOTES:
1987  Image Awards:  2 nominations:  “Outstanding Actress in a Motion Picture” (Helen Martin) and “Outstanding Actor in a Motion Picture” (Robert Townsend)



The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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Thursday, October 31, 2019

Negromancer News Bits and Bites from October 20th to 31st, 2019 - Update #32

Support Leroy on Patreon:

COMICS-FILM - From TheWrap:  Director Matt Reeves confirms that Jeffrey Wright will play "Commissioner James 'Jim' Gordon" in his upcoming film, "The Batman."

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CELEBRITY - From YahooEntertainment:  Family and friends remember actor and comedian, John Witherspoon ("Friday," "The Wayan Bros.," and "The Boondocks"), who died Tuesday, October 29, 2019.

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TELEVISION - From Deadline:  HBO is not going forward with the "Game of Thrones" prequel pilot starring Naomi Watts.

From THR:  However, HBO has ordered a "Game of Thrones" prequel series, "House of the Dragon" that is set 300 years before "Game of Thrones." It is created by George R.R. Martin, the author of the "Game of Thrones" novels, and Ryan Condal

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BOX OFFICE - From THR:  It turns out the ACTUAL winner of the 10/25 to 10/27/2019 weekend box office is "Malificent: Mistress of Evil" with a final take of 19.4 million dollars.  "Joker," the previously announced winner had a final box office take of 19.2 million dollars instead of 18.9 million.

From BoxOfficeMojo:  The winner of the 10/25 to 10/27/2019 weekend box office is "Joker" with an estimated take of 18.9 million dollars.

From Patreon:  My review of "Joker."

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SCANDAL - From TheWrap:  Actor Jared Padalecki, who plays "Sam Winchester" on The CW's "Supernatural," has apparently been arrested for assaulting employees at his bar, "Stereotype," in Austin, Texas.

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MOVIES - From Variety:  Australian director Baz Luhrmann has chosen Australian actress Olivia DeJonge to play Priscilla Presley in his Elvis Presley biopic for Warner Bros.

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DISNEY - From Vulture:  Now, that it complete only 20th Century Fox, Disney is reportedly placing classic Fox movies in the "Disney vault," which is causing problems for repertory movie theaters.

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MOVIES - From YahooEntertainment:  Crispin Glover admits that he only took the job acting in "Friday the 13th: The Final Chapter" (the fourth film) for the paycheck.

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JAMES BOND - From Deadline:  The 25th James Bond film, "No Time to Die," has wrapped up shooting.  The film will open in the U.S. on April 8th, 2020.

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DISNEY - From THR:  "Chernobyl" creator, Craig Mazin, has been hired to reboot Disney's "Pirates of the Caribbean" film franchise alongside veteran "Pirates" writer, Ted Elliot.

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ECO - From Variety:  Actors Jane Fonda and Ted Danson were arrested during a climate change protest in Washington D.C. For Fonda, it is second recent climate protest arrest.

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CELEBRITY - From YahooEntertainment:  Grammy-winning recording artist, Adele, shows off a slimmer look at Grammy-winner Drake's birthday party.

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AWARDS - From Deadline:  The nominations for the 29th / 2019 Gotham Awards have been announced.  The winners will be announced Monday, Dec. 2nd.

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MOVIES - From RollingStone:   Vin Diesel reveals that Grammy-winning singer Cardi B will appear in the 9th installment of the "Fast & Furious" franchise.

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MOVIES - From YahooEntertainment:  Recording artist and choreographer, Paula Abdul, talks about choreographing the African dance scene during the aborted wedding that takes place early in the Eddie Murphy classic, "Coming to America."

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MOVIES - From ShadowandAct:  Andre Holland ("Moonlight") joins Ruth Negga and Tessa Thompson in the film adaptation of Nella Larsen's 1939 novel, "Passing."

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SCANDAL - From Deadline:  Lori Loughlin facing an additional 10 years in jail because of an additional charge in the "college admissions scandal" (the FBI's "Operation Varsity Blues).

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OSCARS - From Deadline:  The stars of "Ford v. Ferrari," actors Matt Damon and Christian Bale, will go head to head in the best actor Oscar race.

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CELEBRITY - From BET:  Celebrated and reviled rap music impresario, Suge Knight, is serving 28 years in prison for voluntary manslaughter.  It has been reported that he has sold the rights to his life story to recording artist, actor, and TV personality, Ray J.

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BOX OFFICE - From BoxOfficeMojo:  The winner of the 10/18 to 10/20/2019 weekend box office is "Maleficent: Mistress of Evil" with an estimated take of 36 million dollars.

From THR:  The Ang Lee-directed, Will Smith-headling "Gemini Man" could lose 75 million dollars for companies behind it.

From Deadline:  "Joker" looks like it is headed to 900 million dollars in worldwide gross.  That would make it the highest grossing R-rated film ahead of current record holder, "Deadpool," which grossed 783 million dollars.

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AWARDS - From Deadline:  Tom Hanks will recevie the "Cecil B. DeMille Award" from the Hollywood Foreign Press Association at the 77th Annual Golden Globes Awards on Jan. 5th, 2020.

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CELEBRITY - From YahooEntertainment:  Oscar-winning actress Jennifer Lawrence married Cooke Maroney Sat., Oct. 18th.

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POLITICS-BDS - From Truthout:  Actor David Clennon wonders if he will be blacklisted because of his support of the Boycott Divest Sanction movement against Israel.

OBITS:

From Deadline:  The actor and comedian, John Witherspoon, has died at the age of 77, October 29, 2019.  His 42-year film and TV career began with a two appearances on "The Richard Pryor Show" (1977).  His longest running TV gig was playing "John 'Pop' Williams" on "The Wayans Bros" (1995-99), and he also provided the voice of "Robert 'Grandad' Freeman" for the animated series, "The Boondocks" (2005-2014).  His best known film role was as "Willie Jones" in Ice Cube's "Friday" film series.

From Deadline:  Legendary Hollywood film producer, Robert Evans, has died at the age of 89, Saturday, October 26, 2019.  He was best known as the producer of many films, including 1974's "Chinatown," for which he received an Academy Award nomination, his only Oscar nod.  He also, notoriously, produced 1984's "The Cotton Club," a production that became entangled in a murder trial. Evans was also the head of production at Paramount Pictures from 1967 to 1974.

From NPR:  Former congressman, U.S. Representative John Conyers, Democrat-Michigan, has died at the age of 90, Sunday, October 27, 2019.  Conyers was the longest serving African-American member of Congress, 1965 to 2017.

From NFL and TheMercuryNews:  Former NFL player, coach and executive,Willie Brown, has died at the age of 78, Monday, October 21, 2019, according sources with the Oakland Raiders, the team with which he is most associated.  Brown played cornerback for the Denver Broncos (1963 to 1966) and the Oakland Raiders (1967 to 1978).  Brown won three Super Bowl titles (XI, XV, and XVIII) with the Raiders, one as a player and two as a coach.

From THR:  Television writer and producer, James Schmerer, died at the age of 81, Friday, October 4, 2019.  Schmerer was known for writing episodes of TV series such as "Mannix," "CHiPs," "MacGuyver," and "The High Chaparral" (for which he was also a producer).


Sunday, January 19, 2014

Review: Silly "LiTTLE MAN" Offers Big Laughs (Happy B'day, Shawn Wayans)

TRASH IN MY EYE No. 149 (of 2006) by Leroy Douresseaux

Little Man (2006)
Running time:  90 minutes (1 hour, 30 minutes)
MPAA – PG-13 for crude and sexual humor throughout, language and brief drug references
DIRECTOR:  Keenen Ivory Wayans
WRITERS:  Keenen Ivory Wayans, Marlon Wayans, and Shawn Wayans
PRODUCERS:  Rick Alvarez, Lee R. Mayes, Keenen Ivory Wayans, Marlon Wayans, and Shawn Wayans
CINEMATOGRAPHER:  Steven Bernstein
EDITORS:  Michael Jackson and Nick Moore
COMPOSER:  Teddy Castellucci

COMEDY/CRIME

Starring:  Marlon Wayans, Shawn Wayans, Kerry Washington, Tracy Morgan, John Witherspoon, Lochlyn Munro, Fred Stoller, Damien Dante Wayans, Gary Owen, Chazz Palminteri, Alex Borstein, Brittany Daniel, John DeSantis, Dave Sheridan, Molly Shannon, and David Alan Grier with Rob Schneider (no screen credit)

The subject of this movie review is Little Man (also stylized as LiTTLE MAN), a 2006 crime comedy from director, Keenen Ivory Wayans, and starring his brothers, Marlon and Shawn Wayans.  The film focuses on a wannabe dad who mistakenly believes that a short-of-stature criminal is his newly adopted son.

As soon as diminutive criminal, Calvin (Marlon Wayans provides the face; Linden Porco and Gabriel Pimental provide the body), leaves prison, he joins his dim and hapless homeboy, Percy (Tracy Morgan, priceless as the criminally inept doofus), in the theft of a large diamond.  With the police hot on their trail, Calvin passes the diamond off to a suburban couple, Darryl (Shawn Wayans) and Vanessa (Kerry Washington).

Calvin and Percy follow the couple back to their home where they learn that the couple is struggling with whether or not they should have a child.  Percy convinces the short-statured Calvin to disguise himself as a baby, and Percy leaves Calvin on Darryl and Vanessa’s doorstep.  After discovering the “baby” Calvin on their doorstep, the couple takes him in, deciding to keep the toddler for at least the weekend until they can turn him over to child welfare authorities on Monday.  Now a part of the family, baby Calvin makes his move to retrieve the diamond he hid in Vanessa’s bag, but Pops (John Witherspoon, in a scene stealing role), Vanessa’s father who lives with them, doesn’t trust this new foundling and keeps his eyes on him.  Meanwhile, Walken (Chazz Palminteri), the cheap hood for whom Calvin and Percy stole the diamond, is moving in to retrieve his booty and he just may kill anyone in his way.

A midget or diminutive criminal passing himself off as a baby to be taken in by a naïve civilian who then unwittingly hides bogus baby from the law is a staple of Warner Bros. Looney Tunes cartoon shorts – 1954 Baby Buggy Bunny comes to mind.  The family team of director/co-writer Keenen Ivory Wayans and co-writers/stars Marlon Wayans and Shawn Wayans make the concept their own in the new comedy, Little Man.  Coming from the people who gave us the Fox sketch comedy series, “In Living Color,” and the reviled, but popular 2004 film, White Chicks ($113 million in worldwide box office, $42.2 of that earned internationally), we would expect Little Man to be in bad taste, and boy, is it in bad taste.

It’s grosser than most gross-out comedies.  In terms of sexual innuendo, bawdy humor, and sexual humor, it actually crosses the line.  There are moments that either outright offended me or stunned and shocked me into silence – killing my laughter as if someone hit an off switch.  This concept is ridiculous except in Bugs Bunny cartoons.  The execution of the narrative is illogical, implausible, improbable, and filled with impossibilities.

The CGI and visual effects that mold Marlon Wayans body with that of two dwarf  actors to create Calvin is some amazing movie technology, but it doesn’t totally work.  Marlon’s head often movies awkwardly, and sometimes his head still looks way too big for such a small body.  Sometimes the seams between the computer-created Calvin and reality are painfully obvious, and Calvin just looks as if he’s been pasted in.  On the other hand, about half the time, the “little man” in Little Man actually looks quite good.

But after all is said and done, Little Man is just frickin’ funny.  It’s laugh-out-loud funny, howl with laughter in the theatre funny, choke-on-laughter funny, funny funny, etc.  Those who like the Wayans’ unabashedly low brow humor, chocked full of bad taste and taboo busting will find this a hilarious treat.  Little Man isn’t the classic great film, but it’s the classic make-you-laugh comedy.  What Little Man lacks in serious artistic merit, it makes up for in laughter inducing nonsense.  That’s the low art of high comedy.

6 of 10
B

Saturday, July 15, 2006

NOTES:
2007 Razzie Awards:  3 wins: “Worst Actor” (Marlon Wayans, Shawn Wayans), “Worst Screen Couple” (Shawn Wayans, Kerry Washington, Marlon Wayans, Shawn Wayans and either Kerry Washington or Marlon Wayans), and “Worst Remake or Rip-Off” (Rip-Off of the 1954 Bugs Bunny cartoon Baby Buggy Bunny-1954); 4 nominations: “Worst Picture,” “Worst Actor” (Rob Schneider for The Benchwarmers), “Worst Director” (Keenen Ivory Wayans), and “Worst Screenplay” Keenen Ivory Wayans, Marlon Wayans, Shawn Wayans)

Updated:  Sunday, January 19, 2014

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.



Sunday, April 22, 2012

Kevin Hart Shameless in Shameless "Soul Plane"

TRASH IN MY EYE No. 85 (of 2004) by Leroy Douresseaux


Soul Plane (2004)
Running time: 86 minutes (1 hour, 26 minutes)
MPAA – R for strong sexual content, language and some drug use
DIRECTOR: Jessy Terrero
WRITERS: Bo Zenga and Chuck Wilson
PRODUCERS: David Scott Rubin and Jessy Terrero
CINEMATOGRAPHER: Jonathan Sela
EDITOR: Michael R. Miller
COMPOSERS: Christopher Lennertz and RZA

COMEDY

Starring: Tom Arnold, Kevin Hart, Method Man, Snoop Dogg, K.D. Aubert, Godfrey, Brian Hooks, D.L. Hughley, Arielle Kebbel, Mo’Nique, Ryan Pinkston, Missi Pyle, Sofia Vergara, Gary Anthony Williams, Karl Malone, Li’l John, and John Witherspoon

The subject of this movie review is Soul Plane, a 2004 jiggaboo comedy. Kevin Hart stars as a young man who starts his own Black-centric airline, and the story focuses on the maiden voyage of the sole plane in his non-existent fleet.

That white writers (usually from upper middle class backgrounds) wrote sketch comedy making fun of black culture used to piss me off. Why the hell couldn’t Hollywood just hire black writers, I rhetorically asked, to write about blacks since white film and TV executives felt that only whites could write about whites. Well, if the best that black writers and filmmakers can do is Soul Plane, never let a nigga touch another sheet of paper.

When Nashawn Wade (Kevin Hart) wins a $100 million settlement for negligence from an airline, he decides to start his own airline: NWA. Lest you confuse yourself, this NWA is not that N.W.A.; for the sake of this movie the acronym stands for “Nashawn Wade Airline.” In flight meals can be anything from Cristal and filet mignon to Colt .45 and Popeye’s fried chicken. The airline’s one plane is purple and rolls on dubs, and the stewardesses are big booty ho’s in Daisy Dukes. When his cousin (badly played by rapper Method Man) hires an ex-con (Snoop Dogg) to fly the plane, you know there’s going to be trouble and hilarity ensues.

Soul Plane is a poorly made collection of stereotypes, blaxtiploitation, riffs on hip hop culture, deplorable acting, and feeble musical tracks. Except for a few moments, the film is painfully unfunny. In fact, 9.5 of every ten minutes of this film is not funny, although the few good scenes are both shocking, painfully embarrassing, and outrageously hilarious – kind of like Scary Movie 3, but with way fewer yucks. Frankly, it’s more saddening than bad.

The cast is either extraordinarily untalented or just misused. Kevin Hart is a Sambo version of Chris Tucker, and his performance is like a frantic and desperate crackhead trying to be funny. Mo’Nique isn’t in the movie enough, and Tom Arnold (practically the lone salvation of this film) may have his name at the front of the credits, but this is (quite unfortunately) not his film.

1 of 10
D-

Tuesday, June 1, 2010

My First Negromancer Movie Review: "The Ladies Man"

TRASH IN MY EYE No. 1 of (2001) by Leroy Douresseaux

The Ladies Man (2000)
Running time: 84 minutes (1 hour, 24 minutes)
DIRECTOR: Reginald Hudlin
WRITERS: Tim Meadows, Dennis McNicholas, and Andrew Steele
PRODUCER: Lorne Michaels
CINEMATOGRAPHER: Johnny E. Jensen
EDITOR: Earl Watson
COMPOSER: Marcus Miller

COMEDY

Starring: Tim Meadows, Karyn Parsons, Billy Dee Williams, John Witherspoon, Jill Talley, Lee Evans, Will Ferrell, Sofia Milos, Eugene Levy, David Huband, Kevin McDonald, Tiffani Thiessen, and Julianne Moore

When I first saw advertisements for this movie, The Ladies Man, I really wanted to see it. I wasn’t just another movie on my list; I craved seeing this movie. From the ads, it looked as if it would be filled with those obnoxious pimp daddy retro-60’s/70’s blaxtiplotation stereotypes that are in vogue, and at the moment, I wanted some of that.

I got it, but in a sort of wishy-washy, screwed up way. You see, black folks can be funny and entertaining to white audiences, if they know how and what to deliver. I watched Eddie Murphy and Chris Tucker satisfy whatever that craving for silly Negroes is to different generations (though Murphy returned from his early to mid 90’s slump as a family movie comic actor). Black and white audiences expect the same thing from their black funny guys and gals, they just want it prepared differently. One group might flock to Booty Call and the other prefers Dr. Dolittle.

The Ladies Man, a film by Reginald Hudlin (House Party, Boomerang, and the Great White Hype) attempts to deliver the colored goods to a White audience. I honestly believe that upon reading the script, they knew that black people would see through this limp-wristed minstrel charade.

Based on an ongoing “Saturday Night Live” skit, the lead is Leon Phelps (Tim Meadows, who originated the character on SNL) as a radio advice show host who gets himself and his producer, Julie (Karyn Parsons, “Fresh Prince of Bel-Air,” Major Payne), fired from the major Chicago gig because of his insistence on using crude language to discuss sexual topics (although kind of language keeps television talk shows on the air). During their difficult and unsuccessful hunt for other employment (the first point upon which this movie turns), Phelps receives a letter from a wealthy former lover who wants to take care of him; he must however discover her, as the letter is unsigned (the second point). Meanwhile, the husbands of Phelps many lovers have banded together to find and bring harm to Phelps whose identity is unknown to them because the only glimpse they ever got of him was of his ass and the distinct tattoo upon his right buttock (his unknown identity being the third point). This movie is actually not without possibilities. It is, after all, simply product, and if you make a good cheeseburger, garbage food though it may be compared to gourmet food, if made well it can be a satisfying meal.

When the writers moved Phelps from sketch character to full-length movie character, they forgot to fully develop him. In the movie, he’s stuck somewhere between cipher and character – almost, but not quite where he needs to be. Phelps is supposed to be some kind of fantastic lover man, but the audience must assume that because the script darn well never shows us why. If we suspend our disbelief, we still have a hard time convincing ourselves that his character’s silly “make out” lines are meant to be attractive and inviting to women. Phelps is undeniably dumb, dull-witted, and slow. He has a giant Afro that screams fake like Astroturf, and his wardrobe is porno movie chic. There should be some attempt to humanize him and make him attractive to the audience. There should be something real about him that makes him attractive to women. We can assume from a few scenes that he possesses massive genitalia, but we never see that; instead we see men gawking at his off screen groin area. We do see his ass a few times, which is nicely shaped and sculpted, whether it belong to Meadows or a butt double.

The actors certainly seem up to the task; they’re all earnest even with a bad script. All the cuckold husbands are quite convincing, especially the delightful Will Ferrell (SNL and A Night at the Roxbury) and Eugene Levy. Midway through this movie, you can sense that the actors are ready to bust out, if only they had the material. Karyn Parsons is willing passionate and believable, but she is largely reduced to playing lady in waiting to Meadows’ clueless Phelps. It was good to see Billy Dee Williams as the bar owner Lester. He is as handsome and as talented as, say Richard Gere. I wonder why we see so much of Gere, who has one flop after another, while we see almost nothing of Williams on the big screen.

But in the end, so much is left to assumptions and playing upon stereotypes. One can see in Meadows face the ability to give this character life, but he’s left with a caricature, a minstrel man. When the audience can identify the characters and then sympathize with them, they can better accept not only dramatic situations concerning the characters, but also comedic situations. The audience will giggle at a few situations that they might recognize because they are familiar with the stereotypes. However, a fully developed story with surprises that delight and familiarity that hits home will make for a fine cinematic experience. The writers should take the time to ground the story in reality, not necessarily make it realistic, but give it a sense of verisimilitude.

2 of 10
D

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