This creative project centers on creating evaluative writing about film, in the form of a film review blog. Preliminary writing was done, in which the distinction was made between critical film writing and movie reviewing, as well as an analysis of how film critics have honed in their criticism and what makes their content effective for their audience. The rest of the writing for this project consists of a total of 15 reviews for 15 different movies released in 2017 and 2018. In these reviews, there is a brief introduction of the plot and context in which the film is made, followed by an evaluative analysis of what made the film effective or ineffective in achieving its artistic goals. The reviews involve an amalgamation of the content and topics taught in the Film and Media Studies program at Arizona State University, from screenwriting to cinematography. This process of writing reviews and being edited by the Director and Second Reader allows for the opportunity to find a unique writing voice and create content that is accessible for the wide audience that would be reading the work. All of the writing completed for this project (except for the "My Favorite Film Critics" piece) is compiled together in a WordPress blog, in an easily readable and accessible format. The blog itself serves as a way to reach the desired audience, as well as entice them to engage with the writing and the films being written about. This includes providing images and trailers for each respective film, to add a visual component to the writing. The final product is a unique way to engage with the content taught in the Film and Media Studies program, while simultaneously building a portfolio of writing that will be expanded upon and continued in the future.

The video-on-demand marketplace in film has usually been reserved for independent distributors like Magnolia Pictures and IFC Films, who cannot secure widespread theatrical exhibition like the major studios do (which include Sony, 20th Century Fox, Warner Bros., and Disney, amongst other), therefore opting for the in-home launch of films through on-demand services. These include cable providers, iTunes, Google Play, and even Netflix and Amazon Instant Video. A drastic change to this model came with the launch of The Interview exclusively on VOD platforms and in independent cinemas, challenging the established norm in the industry of major studios releasing their films with major exhibitors like AMC and Regal. Sony's controversial film provided a breakthrough in the VOD marketplace as it became the highest-grossing film ever released on the platform. There remains mystery and secrecy in the VOD realm, though, as independent distributors fail to provide accountable data on their releases and rarely measure financial successes in public. Whereas theatrical box office are available every weekend, VOD numbers do not have to be disclosed at any time, further driving ambiguity behind just how successful the technology must be when the films are often low-key, character-driven efforts rather than the blockbusters that pervade the theatrical landscape around the world. This paper explores the ramifications of video-on-demand on the theatrical marketplace, and attempts to counter the recent claim of The Interview being the game-changing success for VOD.

This project is a screenplay that follows the life of Marisa Bradford, a young college-aged woman from Palm Springs, California who finds herself moving to London to attend the London University for the Dramatic Arts (LUDA). Marisa is a recovering alcoholic who recently became engaged to her boyfriend Eric before leaving for London. At LUDA, while fighting for leading roles in A Midsummer Night’s Dream with catty actresses from Essex, Marisa faces the familiar temptations associated with her alcoholism and a new temptation—Sean, a good-looking lead actor who defends Marisa at every turn. When her friends and family arrive for the debut of the play from America, everything comes to a head as Marisa’s separate lives merge. Ultimately, she maintains the relationships that matter to her with the people who have never stopped supporting her, even when she didn’t understand the support. A scout from a prestigious acting program in New York City sees her performance in a supporting role, Titania, and offers her a spot in the highly-competitive program. The ending leaves her and Eric resolving their relationship challenges and moving to New York together.