document_title: Beauty and the Beast (2017 film)

question_text: who played the young beast in beauty and the beast

root

text: Beauty and the Beast (2017 film)

text: Plot[edit]

text: In Rococo-era France, a beautiful enchantress disguised as an old beggar woman arrives at a castle during a ball and offers the host, a cruel and selfish prince, a rose in return for shelter from a storm. When he refuses, she reveals her identity. To punish the prince for his selfishness, the enchantress transforms him into a beast and his servants into household objects, then erases the castle, the prince and his servants from the memories of their loved ones. She casts a spell on the rose and warns the prince that the curse will only be broken if he learns to love another, and earn their love in return, before the last petal falls.

tag: p

text: Some years later, in the small town of Villeneuve, Belle, the book-loving daughter of a music box maker and artist Maurice, dreams of adventure and brushes off advances from Gaston, an arrogant former soldier. On his way to a convention and lost in the forest, Maurice seeks refuge in the Beast's castle, but the Beast imprisons him for stealing a rose from his garden as a gift to Belle. When Maurice's horse returns without him, Belle ventures out in search for him, and finds him locked in the castle dungeon. The Beast agrees to let her take Maurice's place.

text: Belle befriends the castle's servants, who invite her to a spectacular dinner. When she wanders into the forbidden west wing and finds the rose, the Beast scares her into the woods. She is ambushed by a pack of wolves, but the Beast rescues her, and is injured in the process. As Belle nurses his wounds, a friendship develops between them. The Beast shows Belle a gift from the enchantress, a book that transports readers wherever they want. Belle uses the book to visit her childhood home in Paris, where she discovers a plague doctor mask and realizes that she and her father were forced to leave when her mother succumbed to the plague.

text: In Villeneuve, Gaston sees rescuing Belle as an opportunity to win her hand in marriage, and agrees to help Maurice. When Maurice learns of his ulterior motive and rejects him, Gaston abandons him to be eaten by the wolves. Maurice is rescued by the hermit Agathe, but when he tells the townsfolk of Gaston's crime but is unable to provide solid evidence, Gaston convinces them to send Maurice to an insane asylum.

text: After sharing a romantic dance with the Beast, Belle discovers her father's predicament using a magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. At Villeneuve, Belle reveals the Beast in the mirror to the townsfolk, proving her father's sanity. Realizing that Belle loves the Beast, a jealous Gaston claims she has been charmed by dark magic, and has her thrown into the asylum carriage with her father. He rallies the villagers to follow him to the castle to slay the Beast before he curses the whole village. Maurice and Belle escape, and Belle rushes back to the castle.

text: During the battle, Gaston abandons his companion LeFou, who then sides with the servants to fend off the villagers. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his spirit upon seeing Belle return. He overpowers Gaston, but spares his life before reuniting with Belle. However, Gaston fatally shoots the Beast from a bridge, but it collapses when the castle crumbles, and he falls to his death. The Beast dies as the last petal falls, and the servants become inanimate. As Belle tearfully professes her love to the Beast, Agathe reveals herself as the enchantress and undoes the curse, repairing the crumbling castle, and restoring the Beast's and servants' human forms and the villagers' memories. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Emma Watson as Belle, a young benevolent bibliophile woman who develops feelings for the Beast and begins to see the humanity within him.

Daisy Duczmal portrays an infant Belle.

Dan Stevens as Beast, a cold-hearted prince who is transformed into a beast and forced to earn back his humanity by learning to truly love and be loved in return. Stevens portrays the character through motion-capture.[12][13]

Adam Mitchell[1] portrays the younger version of the prince.

Luke Evans as Gaston, a narcissistic and arrogant hunter and veteran of the French Royal Army who is willing to go as far as it takes to have Belle as his trophy wife.
Kevin Kline as Maurice, Belle's protective widowed father who works as a music box maker and an artist.[14]

Jolyon Coy portrays the young Maurice.

Josh Gad as LeFou, Gaston's flamboyant and long-suffering sidekick who bolsters his friend's ego but gets very little in return.[15]
Ewan McGregor as Lumière, the Beast's charismatic bouteiller who has been transformed into a candelabra.[16]
Stanley Tucci as Maestro Cadenza, the neurotic court composer and Madame de Garderobe's husband who has been transformed into a harpsichord.[17]
Audra McDonald as Madame de Garderobe, a world-renowned opera singer and Cadenza's wife who has been transformed into a wardrobe.[18]
Gugu Mbatha-Raw as Plumette, one of the castle maids and Lumière's lover who has been transformed into a feather duster.[19]
Ian McKellen as Cogsworth, the Beast's gruff but loyal majordomo and the head of the household staff who has been transformed into a mantel clock.[20]
Emma Thompson as Mrs. Potts, the castle's motherly head housekeeper who has been transformed into a teapot.[14]
Hattie Morahan as Agathe, an impoverished hermit and resident of Villeneuve who, in reality, is the enchantress responsible for cursing the Prince.[21] Morahan also narrates the prologue.

Rita Davies portrays the enchantress in her beggar woman form. The film was released posthumously after Davies' death.

Nathan Mack as Chip, Mrs. Potts' plucky son who has been transformed into a teacup.[22]
Adrian Schiller as Monsieur D'Arque, the sly warden of the local asylum who is bribed by Gaston to have Maurice institutionalized.[21]
Gerard Horan as Monsieur Jean Potts, an absent-minded potter and resident of Villeneuve who is later revealed to be Mrs. Potts' husband and Chip's father.
Haydn Gwynne as Clothilde, a fishmonger and resident of Villeneuve who is later revealed to be Cogsworth's wife.
Michael Jibson as the Tavern Keeper, the owner and keeper of Villeneuve's local tavern where Gaston and the village residents drink.
Ray Fearon as Père Robert, Villeneuve's local chaplain who encourages Belle to borrow the books in the chapel's meager library.
Sophie Reid, Rafaëlle Cohen, and Carla Nella as the Village Lasses, a trio of women who fawn over Gaston and have a jealousy for Belle.
Jimmy Johnston, Dean Street, and Alexis Loizon as Tom, Dick, and Stanley, a trio of men who serve as Gaston's henchmen.
Zoe Rainey as Belle's mother, Maurice's late wife who contracted the plague and died when Belle was an infant.
Clive Rowe as Cuisinier, the castle's head chef who has been transformed into a stove.
Gizmo as Frou-Frou, Maestro Cadenza's and Madame de Garderobe's pet Yorkshire Terrier who has been transformed into a footstool.
Thomas Padden as Chapeau, the prince's valet who has been transformed into a coat rack.
Tom Turner[2] as The King, the prince's father who, following his wife's death, raised his son to be just as selfish and arrogant as he was.
Harriet Jones as The Queen, the prince's mother who died of an illness when he was a child.
Dale Branston as Villeneuve's residential baker.
Chris Andrew Mellon as Nasty Headmaster, the unnamed headmaster of an all boys school in Villeneuve that disapproves of Belle teaching a young girl how to read.
Vivian Parry as the Village Lass' mother, an unnamed seamstress.

tag: ul

text: Cast notes[edit]

text: ^ In the initial theatrical release, Mitchell was miscredited as Rudi Gooman in the cast, but listed under his real name in the soundtrack credits.[23]

text: ^ In the initial theatrical release, Turner is miscredited as Henry Garrett in the cast.[23]

text: Stephen Merchant also appeared in the film as Monsieur Toilette, a servant who was turned into a toilet. This character was cut from the film, but is featured in the deleted scenes.[24]

text: Production[edit]

text: Development[edit]

text: Previously, Disney had begun work on a film adaptation of the 1994 Broadway musical.[25][26] However, in a 2011 interview, composer Alan Menken stated the planned film version of the Beauty and the Beast stage musical "was canned".[27]

text: By April 2014, Walt Disney Pictures had already begun developing a new live-action version and remake of Beauty and the Beast after making other live-action fantasy films such as Alice in Wonderland, Maleficent, Cinderella and The Jungle Book.[28] In June 2014, Bill Condon was signed to direct the film from a script by Evan Spiliotopoulos.[29] Later in September of that same year, Stephen Chbosky (who had previously directed Watson in The Perks of Being a Wallflower) was hired to re-write the script.[30]

text: Before Condon was hired to direct the film, Disney approached him with a proposal to remake the film in a more radical way as Universal Studios had remade Snow White and the Huntsman (2012). Condon later explained that "after Frozen opened, the studio saw that there was this big international audience for an old-school-musical approach. But initially, they said, 'We're interested in a musical to a degree, but only half full of songs.' My interest was taking that film and doing it in this new medium—live-action—as a full-on musical movie. So I backed out for a minute, and they came back and said, 'No, no, no, we get it, let's pursue it that way.'"[31] Walt Disney Pictures president of production Sean Bailey credited Walt Disney Studios chairman Alan F. Horn with the decision to make the film as a musical: "We worked on this for five or six years, and for 18 months to two years, Beauty was a serious dramatic project, and the scripts were written to reflect that. It wasn't a musical at that time. But we just couldn't get it to click and it was Alan Horn who championed the idea of owning the Disney of it all. We realized there was a competitive advantage in the songs. What is wrong with making adults feel like kids again?"[32]

text: Casting[edit]

text: In January 2015, Emma Watson announced that she would be starring as Belle, the female lead.[33] She was the first choice of Walt Disney Studios chairman Alan F. Horn, as he had previously overseen Warner Bros. which released the eight Harry Potter films that co-starred Watson as Hermione Granger.[32] Two months later, Luke Evans and Dan Stevens were revealed to be in talks to play Gaston and the Beast respectively,[34][35] and Watson confirmed their casting the following day through tweets.[12][36] The rest of the principal cast, including Josh Gad, Emma Thompson, Kevin Kline, Audra McDonald, Ian McKellen, Gugu Mbatha-Raw, Ewan McGregor and Stanley Tucci were announced between March and April to play LeFou, Mrs. Potts, Maurice, Madame de Garderobe, Cogsworth, Plumette, Lumière and Cadenza, respectively.[15][14][18][20][19][16][17][37]

text: Susan Egan, who originated the role of Belle on Broadway, commented on the casting of Watson as "perfect".[38] Paige O'Hara, who voiced Belle in the original animated film and its sequels, offered to help Watson with her singing lessons.[39]

text: According to The Hollywood Reporter, Emma Watson was reportedly paid $3 million upfront, together with an agreement that her final take-home pay could rise as high as $15 million if the film generated gross box office income similar to Maleficent's $759 million worldwide gross.[40]

text: Filming[edit]

text: Principal photography on the film began at Shepperton Studios in Surrey, United Kingdom, on May 18, 2015.[14][41][42] Filming with the principal actors concluded on August 21.[43][44] Six days later, co-producer Jack Morrissey confirmed that the film had officially wrapped production.[45]

text: The Beast was portrayed with a "more traditional motion capture puppeteering for the body and the physical orientation", where actor Dan Stevens was "in a forty-pound gray suit on stilts for much of the film". The facial capture for the Beast was done separately in order to "communicate the subtleties of the human face" and "[capture the] thought that occurs to him" which gets "through [to] the eyes, which are the last human element in the Beast." The castle servants who are transformed into household objects were created with CGI animation.[7]

text: Before the release of the film, Bill Condon refilmed one certain sequence in the "Days of the Sun" number, due to confusion among test audiences caused by actress Harriet Jones, who looked similar to Hattie Morahan, who portrayed Agathe. In the original version of the scene, it was Jones's character, the Prince's mother, who sings the first verse of the song, with Rudi Goodman playing the young Prince and Henry Garrett playing his father; but in the reshot version of the scene, the singing part is given to the Prince (now played by Adam Mitchell). The King was also recast to Tom Turner, although Harriet Jones was still the Queen, albeit with dark hair. Both Goodman and Garrett's names were mistakenly featured in the original theatrical release's credits, but was later corrected in home releases.[23]

text: Music[edit]

text: When released in 1991, Beauty and the Beast, marked a turning point for Walt Disney Pictures by appealing to millions of fans with its Oscar-winning musical score by lyricist Howard Ashman and composer Alan Menken. In Bill Condon's opinion, that original score was the key reason he agreed to direct a live-action version of the movie. "That score had more to reveal", he says, "You look at the songs and there's not a clunker in the group. In fact, Frank Rich described it as the best Broadway musical of 1991. The animated version was already darker and more modern than the previous Disney fairytales. Take that vision, put it into a new medium, make it a radical reinvention, something not just for the stage because it's not just being literal, now other elements come into play. It's not just having real actors do it".[46]

text: Condon initially prepared on only drawing inspiration from the original film, but he also planned to include most of the songs composed by Alan Menken, Howard Ashman and Tim Rice from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[47] Menken returned to score the film's music, which features songs from the original film by him and Howard Ashman, plus new material written by Menken and Tim Rice.[48] Menken said the film will not include songs that were written for the Broadway musical and instead, created four new songs.[49] However, an instrumental version of the song "Home", which was written for the musical, is used during the scene where Belle first enters her room in the castle.[50]

text: On January 19, 2017, it was confirmed by both Disney and Céline Dion—singer of the original 1991 "Beauty and the Beast" duet song, with singer Peabo Bryson—that Dion would be performing one of the new original songs "How Does a Moment Last Forever" to play over the end titles.[51] She originally had doubts about whether or not to record the song due to the recent death of her husband and manager René Angélil, who had previously helped her secure the 1991 pop duet. While ultimately accepting the opportunity, she said: "[The] first Beauty and the Beast decision was made with my husband. Now I'm making decisions on my own. It's a little bit harder. I couldn't say yes right away, because I felt like I was kind of cheating in a way". She eventually felt compelled to record the song because of the impact Beauty and the Beast has had on her career. According to Dion, "I was at the beginning of my career, it put me on the map, it put me where I am today". Also, Josh Groban was announced to be performing the new original song "Evermore" on January 26, 2017.[52][53][54][55]

text: The 2017 film features a remake of the 1991 original song recorded as a duet by Ariana Grande and John Legend.[56][57] Grande and Legend's updated version of the title song is faithful to the original, Grammy-winning duet, performed by Céline Dion and Peabo Bryson for the 1991 Disney film.[58] Disney debuted the music video for Ariana Grande and John Legend's interpretation of the title song on Freeform television network on March 5, 2017, and it has since been viewed over 100 million views on the Vevo video-hosting service.[59]

text: Emma Thompson also performed a rendition of the title song, which was performed by Angela Lansbury in the original 1991 animated film.[59]

text: Release[edit]

text: On March 16, 2015, Disney announced the film would be released in 3D on March 17, 2017.[14] The first official presentation of the film took place at Disney's three-day D23 Expo in August 2015.[60]

text: The world premiere of Beauty and the Beast took place at Spencer House in London, United Kingdom on February 23, 2017;[61] and the film later premiered at the El Capitan Theatre in Hollywood, California, on March 2, 2017. The stream was broadcast onto YouTube.

text: A sing along version of the film released in over 1,200 US theaters nationwide on April 7, 2017.[62] The United Kingdom received the same version on April 21, 2017.[63]

text: The film was re-released in New York and Los Angeles for a one-week engagement starting December 1, 2017. The move is an awards push as awards season heats up.[64]

text: Marketing[edit]

text: Disney spent around $140 million to market the film worldwide.[65] Following an announcement on May 22, 2016,[66] Disney premiered the first official teaser trailer on Good Morning America the next day.[67] In its first 24 hours, the teaser trailer reached 91.8 million views, which was the largest number ever seen for a trailer in that amount of time.[68] This record has since been broken by Thor: Ragnarok,[69] It and Avengers: Infinity War.[70][71] The first official teaser poster was released on July 7, 2016.[72] On November 2, 2016, Entertainment Weekly debuted the first official image on the cover of their magazine, along with nine new photos.[73][74] One week later, Emma Watson and Disney debuted a new poster.[75] On November 14, 2016, the first theatrical trailer was released, again on Good Morning America.[76] This reached 127.6 million views in its first 24 hours, setting a new record for the most views in one day, beating Fifty Shades Darker;[77] this record has since been broken by The Fate of the Furious.[78] A TV spot with Watson singing was shown during the 74th Golden Globe Awards.[79] Disney released the final trailer on January 30, 2017.[80]

text: Home media[edit]

text: Beauty and the Beast was released on Blu-ray, DVD and Digital HD on June 6, 2017.[81] The film debuted at No. 1 on the NPD VideoScan overall disc sales chart, with all other titles in the top 20, collectively, selling only 40% as many units as Beauty and the Beast.[82] The movie regained the top spot on the national home video sales charts during its third week of release.[83] The movie became available on Netflix on September 19, 2017.

text: Reception[edit]

text: Box office[edit]

text: Beauty and the Beast grossed $504 million in the United States and Canada and $759.5 million in other countries for a worldwide gross of $1.263 billion.[5] With a production budget of $160 million, it is the most expensive musical ever made, or the second-most expensive musical ever made if accounting for inflation; only Hello, Dolly! (1969) with a budget of $25 million ($165 million in 2016 dollars) cost more.[4] In just ten days, it became the highest-grossing live-action musical of all time, beating the nine-year-old record held by Mamma Mia!. It is currently the second-biggest musical ever overall, behind Disney's Frozen (2013).[85] Worldwide, the film proved to be a global phenomenon, earning a total of $357 million over its four-day opening weekend from 56 markets. Critics said the film was playing like superhero movies amongst women. It was the second biggest March global opening, behind only Batman v Superman: Dawn of Justice, the thirteenth-biggest worldwide opening ever and the seventh-biggest for Disney.[86] This includes $21 million from IMAX plays on 1,026 screens, a new record for an IMAX PG title.[87] It surpassed the entire lifetime total of the original film in just six days.[88][89]

text: Beauty and the Beast was the 300th digitally remastered release in IMAX company's history, which began with the re-release of Apollo 13 in 2002. Its robust global debut helped push the company past $6 billion for the first time,[90] and led to analysts believing that the film had a shot of passing $1 billion worldwide from theatrical earnings.[91][92][93][94] On April 12, it passed the $1 billion threshold, becoming the first film of 2017, the fourteenth Disney film, and the twenty-ninth film overall to pass the mark. It became the first film since Rogue One (also a Disney property) in December 2016 to make over a billion dollars, and did so on its twenty-ninth day of release.[95][96][97] It is currently the 2nd highest-grossing film of 2017 (behind Star Wars: The Last Jedi),[98] the highest-grossing March release,[99] the highest-grossing remake of all-time,[100] and the sixth-biggest Disney film.[101] Even after inflation adjusted, it is still ahead of the $425 million gross ($760 million in 2017 dollars) of the original film.[100] Deadline Hollywood calculated the net profit of the film to be $414.7 million, when factoring together all expenses and revenues, making it the second most profitable release of 2017.[102]

text: United States and Canada[edit]

text: In the United States and Canada, Beauty and the Beast topped Fandango's pre-sales and became the fastest-selling family film in the company's history, topping the studio's own animated film Finding Dory released the previous year. Early tracking had the film grossing around $100 million in its opening weekend, with some publications predicting it could reach $130 million.[103][104][105] By the time the film's release was 10 days away, analysts raised projections to as high as $150 million.[106][107] It earned $16.3 million from Thursday previews night, marking the biggest of 2017 (breaking Logan's record), the biggest ever for a Disney live-action film (breaking Maleficent's record), the second biggest ever for both a G or PG-rated film (behind the sixth Harry Potter film Harry Potter and the Half-Blood Prince which also starred Watson), and the third biggest ever in the month of March (behind Batman v Superman: Dawn of Justice and The Hunger Games).[108] An estimated 41% of the gross came from IMAX, 3D and premium large format screenings which began at 6 pm, while the rest—59%—came from regular 2D shows which began at 7 pm.[109] The numbers were considered more impressive given that the film played during a school week.[110]

text: On its opening day, the film made $63.8 million from 4,210 theaters across 9,200 screens, marking the third biggest in the month of March, trailing behind Batman v Superman ($81.5 million) and The Hunger Games ($67 million).[111][112] It was also the biggest opening day ever for a film that wasn't PG-13, displacing the $58 million opening Wednesday of Harry Potter and the Half-Blood Prince. Its opening day alone (which includes Thursday's previews) almost matched the entire opening weekend of previous Disney live-action films, Maleficent ($69.4 million) and Cinderella ($67.9 million).[113] Unlike all previous four Disney live-action films witnessing a hike on their second day, Saturday, Beauty and the Beast actually fell 2%, but nevertheless, the dip was paltry, and the grosses are so much bigger compared to the other titles.[90] Earning a total of $174.8 million on its opening weekend, it defied all expectations and went on to set numerous notable records.[114] This includes the biggest opening of the year as well as the biggest for the month of March and pre-summer/spring opening, beating Batman v Superman,[115][116] the biggest start ever for a PG title (also for a family film), surpassing Finding Dory,[117] the biggest debut of all time for a female-fueled film, ahead of The Hunger Games: Catching Fire,[118] the biggest for a Disney live-action adaptation, ahead of Alice in Wonderland[118] and the biggest musical debut ever, supplanting Pitch Perfect 2. Furthermore, it is also Watson's highest-opening, beating Harry Potter and the Deathly Hallows – Part 2 same with Emma Thompson, director Bill Condon's biggest debut ever ahead of The Twilight Saga: Breaking Dawn – Part 2 and the biggest outside of summer, save for Star Wars: The Force Awakens, not accounting for inflation.[114]

text: It became the forty-third film to debut with over $100 million and the fifteenth film to open above $150 million. Its three-day opening alone surpassed the entire original North American run of the first film ($146 million; before the 3D re-release), instantly becoming the second-biggest film of the year, behind Logan ($184 million), and also the second-highest-grossing musical, behind Grease's $188 million cumulative gross in 1978.[119] Seventy percent of the total ticket sales came from 2D showings signifying that people who don't go to theaters frequently came out in bulk to watch the film. About 26% of the remaining tickets were for 3D. IMAX accounted for 7% ($12.5 million) of the total weekend's gross, setting a new record for a PG title, ahead of Alice in Wonderland ($12.1 million) while PLF repped 11% of the box office.[90] Seventy percent of the film's opening day demographic was female, dropping to 60% through the weekend.[118] According polling service PostTrak, about 84 percent of American parents who saw the film on its opening day said they would "definitely" recommend it for families.[120][121] The film's opening was credited to positive word of mouth from audiences, good reviews from critics, effective marketing which sold the title not just as a family film but also as a romantic drama, the cast's star power (especially Emma Watson), lack of competition, being the first family film since The Lego Batman Movie a month earlier, nostalgia, and the success and ubiquity of the first film and Disney's brand.[120][122]

text: On Monday, its fourth day of release, the film fell precipitously by 72% earning $13.5 million. The steep fall was due to a limited marketplace where only 11% K-12 and 15% colleges were off per ComScore. Nevertheless, it is the second-biggest March Monday, behind Batman v Superman ($15 million).[123] This was followed by the biggest March and pre-summer Tuesday with $17.8 million, a 32% increase from its previous day. The same day, the film passed $200 million in ticket sales.[124] It earned $228.6 million in the first week of release, the sixth-biggest seven-day gross of all time.[125] In its second weekend, the film continued to maintain the top positioning and fell gradually by 48% earning another $90.4 million to register the fourth-biggest second weekend of all time, and the third-biggest for Disney.[126] In terms of percentage drop, its 48% decline is the third-smallest drop for any film opening above $125 million (behind Finding Dory and The Force Awakens).[85] The hold was notable considering how the film was able to fend off three new wide releases: Power Rangers, Life, and CHiPs.[127] As a result, it passed the $300 million threshold becoming the first film of 2017 the pass said mark.[128] The film grossed $45.4 million in its third weekend, finally being overtaken for the top spot by newcomer The Boss Baby ($50.2 million).[129] On April 4, 2017, its nineteenth day of release, it passed the $400 million threshold becoming the first film of 2017 to do so.[130] By its fourth weekend, the film began was playing in 3,969 cinemas, a fall of 241 theaters from its previous weekend. Of those, approximately 1,200 cinemas were sing-along versions. It earned $26.3 million (−48%) and retained second place. By comparison, previous Disney films Moana (−8%) and Frozen (−2%) both witnessed mild percentage declines the weekend their sing-alone versions were released.[131] Its seventh weekend of release was in contemporaneous with another Emma Watson-starring new film The Circle.[132] That weekend, The Circle was number four, while Beauty and the Beast was at number six.[133] By May 28, the film had earned over $500 million in ticket sales becoming the first film of 2017 (until it was later surpassed by The Last Jedi),[134][135] the third female-fueled film (after The Force Awakens and Rogue One: A Star Wars Story followed by Wonder Woman and The Last Jedi) and the eighth overall film in cinematic history to pass the mark.[136][137][138][139]

text: It has already become the biggest March release, dethroning The Hunger Games (2012),[140] the biggest musical film (both animated and live-action),[141] as well as the biggest film of 2017 (alongside The Last Jedi).[142]

text: Other countries[edit]

text: Outside the US and Canada, the film began playing on Thursday, March 16, 2017. Through Sunday, March 19, it had a total international opening of $182.3 million from 55 markets, 44 of which were major territories, far exceeding initial estimations of $100 million and opened at No. 1 in virtually all markets except Vietnam, Turkey, and India. Its launch is the second-biggest for the month of March, behind Batman v Superman ($256.5 million). In IMAX, it recorded the biggest debut for a PG title (although it carried varying certificate amongst different markets) with $8.5 million from 649 screens, the second-biggest for a PG title behind The Jungle Book.[143] In its second weekend, it fell just by 35% earning another $120.6 million and maintaining its first position hold. It added major markets like France and Australia.[144] It topped the international box office for three consecutive weekends[145] before finally being dethroned by Ghost in the Shell and The Boss Baby in its fourth weekend. Despite the fall, the film helped Disney push past the $1 billion thresold internationally for the first time in 2017.[146][97]

text: It scored the biggest opening day of the year in Hong Kong and the Philippines, the biggest March Thursday in Italy ($1 million, also the biggest Disney Thursday debut), the biggest March opening day in Austria, and the second-biggest in Germany ($1.1 million), Disney's biggest March in Denmark, the biggest Disney live-action debut in China ($12.6 million), the UK ($6.2 million), Mexico ($2.4 million) and Brazil ($1.8 million) and the third-biggest in South Korea with $1.2 million, behind only Pirates of the Caribbean: At World's End and Pirates of the Caribbean: On Stranger Tides.[147][148] In terms of opening weekend, the largest debut came from China ($44.8 million), followed by the UK ($24.3 million), Korea ($11.8 million), Mexico ($11.8 million), Australia ($11.1 million), Brazil ($11 million), Germany ($10.7 million), France ($8.4 million), Italy ($7.6 million), Philippines ($6.3 million), Russia ($6 million) and Spain ($5.8 million).[143][144]

text: In the United Kingdom and Ireland, the film recorded the biggest opening ever for a PG-rated film, the biggest Disney live-action opening of all time, the biggest March opening weekend, the biggest opening for a musical (ahead of 2012's Les Misérables), the number one opening of 2017 to date and the fifth-biggest-ever overall with £19.7 million ($24.5 million) from 639 theatres and almost twice that of The Jungle Book (£9.9 million).[149] This included the second-biggest Saturday ever (£7.9 million), only behind Star Wars: The Force Awakens.[150] It witnessed a decline in its second weekend, earning £12.33 million ($15.4 million). Though the film was falling at a faster rate than The Jungle Book, it had already surpassed the said film and its second weekend is the third-biggest ever (behind the two James Bond films Skyfall (2012) and Spectre).[151][144] In India, despite facing heavy competitions from four new Hindi releases, two Tamils films and a Malayalam and a Punjabi release, the film managed to take an occupancy of 15% on its opening day, an impressive feat despite tremendous competitions.[152][153][154] It earned around ₹15 million (US$230,000) nett on its opening day from an estimated 600 screens which is more than the three Hindi releases—Machine, Trapped, and Aa Gaya Hero—combined.[155] Disney reported a total of ₹92.6 million (US$1.4 million) gross for its opening weekend there. It was ahead of all new releases and second overall behind Bollywood film Badrinath Ki Dulhania.[156][157][158] In Russia, despite receiving a restrictive 16 rating, the film managed to deliver a very successful opening with $6 million.[159]

text: In China, expectations were high for the film. The release date was announced on January 24, giving Disney and local distributor China Film Group Corporation ample time—around two months—to market the film nationwide. The release date was strategically chosen to coincide with White Day. Preliminary reports suggested that it could open to $40–60 million in its opening weekend. Largely driven by young women, its opening day pre-sales outpaced that of The Jungle Book.[160] The original film was, however, never widely popular in the country.[161] Although China has occasionally blocked gay-themed content from streaming video services, in this case, Chinese censors decided to leave the gay scene intact. According to local box office tracker Ent Group, the film grossed an estimated $12.1 million on its opening day (Friday), representing 70% of the total receipts. Including previews, it made a total of $14.5 million from 100,000 screenings, which is 43% of all screenings in the country.[162] It climbed to $18.5 million on Saturday (102,700 showings) for a three-day total of $42.6 million, securing 60% of the total marketplace. Disney on the other hand reported a different figure of $44.8 million.[163][164] Either ways, it recorded the second-biggest opening for a Disney live-action film,[161] with $3.4 million coming from 386 IMAX screens.[143] Japan—a huge Disney market—served as the film's final market and opened there on April 21.[144] It debuted with a better-than-expected $12.5 million on its opening weekend helping the film push past the $1.1 billion threshold. An estimated $1.1 million came from IMAX screenings, the fourth-biggest ever in the country.[165][166] The two-day gross was $9.7 million, outstripping Frozen's previous record of $9.5 million.[167] Due to positive reviews, good word-of-mouth and benefitting from the Golden Week, the film saw a 9% increase on its second weekend. The hold was strong enough to fend off newcomer The Fate of the Furious from securing the top spot. The total there is now over $98 million after seven weekends[168][169][170] and is the biggest film release of the year and, overall, the eleventh-biggest of all time.[171] It topped the box office there for eight consecutive weekends.[172][173]

text: The only markets where the film did not top the weekend charts were Vietnam (behind Kong: Skull Island), Turkey (with two local movies and Logan ahead) and India (where Badrinath Ki Dulhania retained No. 1).[143] It topped the box office for four straight weekends in Germany, Korea, Austria, Finland, Poland, Portugal, Brazil, Venezuela, Bolivia, Switzerland and the UK (exclusive of previews).[146][174] In the Philippines, it emerged as the most successful commercial film of all time—both local and foreign—with over $13.5 million.[175] In just five weeks, the film became one of the top 10 highest-grossing film of all time in the United Kingdom and Ireland, ahead of all but one Harry Potter film (Deathly Hallows – Part 2) and all three The Lord of the Rings movies (which also starred Ian McKellen).[176] It is currently the eighth-biggest grosser with £70.1 million ($90 million), overtaking Mamma Mia! to become the biggest musical production ever there.[165][177] The biggest international earning markets following the UK are Japan ($108 million), China ($85.8 million), Brazil ($41.5 million), Korea ($37.5 million), and Australia ($35 million).[172] In Europe alone, the cumulative total is $267 million to become the second-highest-grossing film in the past year (behind Rogue One: A Star Wars Story).[165][168][178]

text: Critical response[edit]

text: Beauty and the Beast received generally positive reviews, with praise for its ensemble cast, visuals, production values, musical score, songs, and faithfulness to the original film with a few elements of the Broadway musical version, while the designs of the Beast and the servants' household object forms received mixed reviews.[10][11] On review aggregator Rotten Tomatoes, the film has an approval rating of 71% based on 318 reviews, with an average rating of 6.7/10. The site's critical consensus reads, "With an enchanting cast, beautifully crafted songs, and a painterly eye for detail, Beauty and the Beast offers a faithful yet fresh retelling that honors its beloved source material."[179] On Metacritic, the film has a score of 65 out of 100, based on 47 critics, indicating "generally favorable reviews".[180] In CinemaScore polls, audiences gave the film an average grade of "A" on an A+ to F scale.[181][182]

text: Leslie Felperin of The Hollywood Reporter wrote: "It's a Michelin-triple-starred master class in patisserie skills that transforms the cinematic equivalent of a sugar rush into a kind of crystal-meth-like narcotic high that lasts about two hours." Felperin also praised the performances of Watson and Kline as well the special effects, costume designs and the sets while commended the inclusion of Gad's character of LeFou as the first LGBT character in Disney.[183] Owen Gleiberman of Variety, in his positive review of the film, wrote: "It's a lovingly crafted movie, and in many ways a good one, but before that it's an enraptured piece of old-is-new nostalgia." Gleiberman compared Steven's character of the Beast to a royal version of the titular character in The Elephant Man and the 1946 version of the Beast in Jean Cocteau's original adaptation.[184] A. O. Scott of The New York Times praised the performances of both Watson and Stevens, and wrote: "It looks good, moves gracefully and leaves a clean and invigorating aftertaste. I almost didn't recognize the flavor: I think the name for it is joy."[185]

text: Likewise, The Washington Post's Ann Hornaday complimented Watson's performance, describing it as "alert and solemn" while noting her singing ability as "serviceable enough to get the job done".[186] Richard Roeper of Chicago Sun-Times awarded the film three and a half stars, lauded the performances of Watson and Thompson which he drew a comparison to Paige O'Hara's and Angela Lansbury's performances in the 1991 animated version while appreciating the performances of the other cast and also pointing out on its usage of the combination of motion capture and CGI technology as a big advantage which he stated: "Almost overwhelmingly lavish, beautifully staged and performed with exquisite timing and grace by the outstanding cast".[187] Mike Ryan of Uproxx praised the cast, production design and the new songs while noting the film doesn't try anything different, saying: "There's certainly nothing that new about this version of Beauty and the Beast (well, except it isn't a cartoon anymore), but it's a good recreation of a classic animated film that should leave most die-hards satisfied."[188] In her A- review, Nancy Churnin of The Dallas Morning News praised the film's emotional and thematic depth, remarking: "There's an emotional authenticity in director Bill Condon's live-action Beauty and the Beast film that helps you rediscover Disney's beloved 1991 animated film and 1994 stage show in fresh, stirring ways."[189] James Berardinelli of ReelViews described the 2017 version as "enthralling".[190]

text: Brian Truitt of USA Today commended the performances of Evans, Gad, McGregor and Thompson alongside Condon's affinity with musicals, the production design, visual effects featured in some of the song numbers including new songs made by the composers Alan Menken and Tim Rice, particularly Evermore which he described the new song with a potential for an Academy Award for Best Original Song.[191] Peter Travers of Rolling Stone rated the film three out of four stars which he deemed it as an "exhilarating gift" while he remarked that "Beauty and the Beast does justice to Disney's animated classic, even if some of the magic is M.I.A (Missing in Action)".[192] Stephanie Zacharek of Time magazine gave a positive review with a description as "Wild, Vivid and Crazy-Beautiful" as she wrote "Nearly everything about Beauty and the Beast is larger than life, to the point that watching it can be a little overwhelming." and added that "it's loaded with feeling, almost like a brash interpretive dance expressing the passion and elation little girls (and some boys, too) must have felt upon seeing the earlier version."[193] The San Francisco Chronicle's Mick LaSalle struck an affirmative tone, calling it one of the joys of 2017, stating that "Beauty and the Beast creates an air of enchantment from its first moments, one that lingers and builds and takes on qualities of warmth and generosity as it goes along" while referring the film as "beautiful" and also praised the film for its emotional and psychological tone as well Steven's motion capture performance.[194]

text: Tim Robey of The Daily Telegraph gave the film four stars out of five and wrote that "It dazzles on this chocolate box of a picture that feels almost greedy yet to make this film work, down to a sugar-rush finale to grasp the nettle and make an out-an-out, bells-and-whistles musical" while he praised the performances of Watson, McKellen, Thompson, McGregor, Evans and Gad.[195] Mark Hughes of Forbes also similarly praised the film which he wrote that "it could revive the story in a faithful but entirely new and unique way elevating the material beyond expectations, establishing itself as a cinematic equal to the original" and also complimented the importance of undertaking a renowned yet problematic masterpiece as well addressing changes in the elements of the story while acknowledging the film's effectiveness in resonating to the audiences.[196] Stephen Whitty of the New York Daily News called it "this year's best new old musical" and "the most magical thing of all" while describing Watson's performance of Belle as "breakthrough".[197]

text: Several critics regarded the film as inferior to its 1991 animated predecessor. David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it's so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it's hard not to notice".[198] Michael Phillips of the Chicago Tribune said that the 2017 film "takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips wrote that the film featured some "less conspicuously talented" performers who are "stuck doing karaoke, or motion-capture work of middling quality", though he praised Kline's performance as the "best, sweetest thing in the movie; he brings a sense of calm, droll authority".[199] Peter Bradshaw of The Guardian praised Watson's performance and wrote that the film was "lit in that fascinatingly artificial honey-glow light, and it runs smoothly on rails—the kind of rails that bring in and out the stage sets for the lucrative Broadway touring version." In the same newspaper, Wendy Ide criticized the film as "ornate to the point of desperation" in its attempt to emulate the animated film.[200][201]

text: Chris Nashawaty of Entertainment Weekly gave the film a B-, writing that while the film looks "exceptionally great", he said the new songs were "not transporting". He felt the film needed more life and depth, but praised Watson's and Steven's performances as the "film's stronger elements".[202] Dana Schwartz of The New York Observer felt that some of the characters, such as Gaston and the Beast, had been watered down from the 1991 film, and that the additional backstory elements failed to "advance the plot or theme in any meaningful way" while adding considerable bloat. Schwartz considered the singing of the cast to be adequate but felt that their voices should have been dubbed over, especially for the complex songs.[203]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

Academy Awards
March 4, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[204]

Best Costume Design
Jacqueline Durran
Nominated

Art Directors Guild Awards
January 27, 2018
Excellence in Production Design for a Fantasy Film
Sarah Greenwood
Nominated
[205]

British Academy Film Awards
February 18, 2018
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[206]

Best Costume Design
Jacqueline Durran
Nominated

Casting Society of America
January 18, 2018
Big Budget – Comedy
Lucy Bevan, Bernard Telsey and Tiffany Little Canfield
Nominated
[207]

Chicago Film Critics Association
December 12, 2017
Best Art Direction
Sarah Greenwood
Nominated
[208]
[209]

Costume Designers Guild Awards
February 20, 2018
Excellence in Fantasy Film
Jacqueline Durran
Nominated
[210]

Critics' Choice Movie Awards
January 11, 2018
Best Art Direction
Sarah Greenwood and Katie Spencer
Nominated
[211]

Best Costume Design
Jacqueline Durran
Nominated

Best Hair & Makeup
Beauty and the Beast
Nominated

Best Song
"Evermore"
Nominated

Empire Awards
March 18, 2018
Best Actress
Emma Watson
Nominated
[212]
[213]

Best Soundtrack
Beauty and the Beast
Nominated

Best Make-up And Hairstyling
Won

Golden Trailer Awards
June 6, 2017
Best Animation/Family
Nominated
[214]

Best Original Score
Nominated

Best Animation/Family TV Spot
Nominated

Best Fantasy Adventure TV Spot
Nominated

Guild of Music Supervisors Awards
February 8, 2018
Best Music Supervision for Film: Budgeted Over 25 Million Dollars
Sullivan, MattMatt Sullivan
Nominated
[215]

Hollywood Film Awards
November 5, 2017
Costume Design Award
Jacqueline Durran[a]
Won
[216]

Make-Up & Hair Styling Award
Jenny Shircore
Won

Hollywood Music in Media Awards
November 16, 2017
Best Original Song – Animated Film
"How Does a Moment Last Forever" – Alan Menken and Tim Rice
Nominated
[217]
[218]

Best Original Song – Sci-Fi, Fantasy, Horror Film
Won

"Evermore" – Alan Menken and Tim Rice
Nominated

Best Soundtrack Album
Beauty and the Beast
Nominated

Hollywood Post Alliance
Outstanding Color Grading – Feature Film
Stefan Sonnenfeld
Nominated
[219]
[220]

Outstanding Visual Effects – Feature Film
Kyle McCulloch, Glen Pratt, Richard Hoover, Dale Newton, Neil Weatherley and Framestore
Nominated

Houston Film Critics Society
January 6, 2018
Best Original Song
"Evermore" – Alan Menken and Tim Rice
Nominated
[221]

Make-Up Artists and Hair Stylists Guild
February 24, 2018
Feature Motion Picture: Best Period and/or Character Hair
Jenny Shircore, Marc Pilcher and Charlotte Hayward
Nominated
[222]

MTV Movie & TV Awards
May 7, 2017
Movie of the Year
Beauty and the Beast
Won
[223]

Best Actor in a Movie
Emma Watson
Won

Best Kiss
Emma Watson and Dan Stevens
Nominated

Best Duo
Josh Gad and Luke Evans
Nominated

NAACP Image Awards
January 15, 2018
Outstanding Supporting Actress in a Motion Picture
Audra McDonald
Nominated
[224]

Nickelodeon Kids' Choice Awards
March 24, 2018
Favorite Movie
Beauty and the Beast
Nominated
[225]

Favorite Movie Actress
Emma Watson
Nominated

Publicists Guild Awards
March 2, 2018
Motion Picture
Beauty and the Beast
Nominated
[226]
[227]

San Diego Film Critics Society
December 11, 2017
Best Production Design
Sarah Greenwood and Katie Spencer
Nominated
[228]
[229]

Best Visual Effects
Beauty and the Beast
Runner-up[b]

Best Costume Design
Jacqueline Durran
Won[c]

Best Use of Music
Beauty and the Beast
Nominated

Satellite Awards
February 10, 2018
Best Costume Design
Jacqueline Durran
Nominated
[230]

Saturn Awards
June 2018
Best Fantasy Film
Beauty and the Beast
Pending
[231]

Best Actress
Emma Watson
Pending

Best Production Design
Sarah Greenwood
Pending

Best Costume Design
Jacqueline Durran
Pending

Seattle Film Critics Society
December 18, 2017
Best Costume Design
Jacqueline Durran
Nominated
[232]
[233]

St. Louis Film Critics Association
December 17, 2017
Best Production Design
Sarah Greenwood
Nominated
[234]

Best Visual Effects
Beauty and the Beast
Nominated

Teen Choice Awards
August 13, 2017
Choice Movie: Fantasy
Won
[235]
[236]

Choice Movie: Fantasy Actor
Dan Stevens
Nominated

Choice Movie: Fantasy Actress
Emma Watson
Won

Choice Movie Villain
Luke Evans
Won

Choice Movie Ship
Emma Watson and Dan Stevens
Won

Choice Liplock
Won

Choice Scene Stealer
Josh Gad
Nominated

Choice Hissy Fit
Luke Evans
Nominated

Dan Stevens
Nominated

Visual Effects Society Awards
February 13, 2018
Outstanding Virtual Cinematography in a Photoreal Project
Shannon Justison, Casey Schatz, Neil Weatherley and Claire Michaud for "Be Our Guest"
Nominated
[237]

Washington D.C. Area Film Critics Association
December 8, 2017
Best Motion Capture Performance
Dan Stevens
Nominated
[238]

Best Production Design
Sarah Greenwood and Katie Spencer
Nominated

Women Film Critics Circle
December 17, 2017
Best Family Film
Beauty and the Beast
Nominated
[239]
[240]

tag: table

text: Controversies[edit]

text: Gay character[edit]

text: Controversy erupted after director Bill Condon said there was a "gay moment" in the film, when LeFou briefly waltzes with Stanley, one of Gaston's friends.[241] Afterwards in an interview with Vulture.com, Condon stated, "Can I just say, I'm sort of sick of this. Because you've seen the movie—it's such a tiny thing, and it's been overblown." Condon also added that Beauty and the Beast features much more diversity than just the highly talked-about LeFou: "That was so important. We have interracial couples—this is a celebration of everybody's individuality, and that's what’s exciting about it.”[242] GLAAD president and CEO Sarah Kate Ellis praised the move stating, "It is a small moment in the film, but it is a huge leap forward for the film industry."[243]

text: In Russia, Vitaly Milonov agitated the culture minister for banning the film,[244] but instead it was given a 16+ rating (children under the age of 16 can only be admitted to see it in theaters with accompanying adults).[245] Additionally, a theater in Henagar, Alabama did not screen the film because of the subplot.[246] In Malaysia, the Film Censorship Board insisted the "gay moment" scene be cut, prompting an indefinite postponement of its release by Disney, followed by their decision to withdraw it completely if it could not be released uncensored.[247][248][249] The studio moved the release date to March 30, to allow more time for Malaysia's censor board to make a decision on whether or not to release the film without changes.[250] The distributors and producers then submitted an appeal to the Film Appeal Committee of Malaysia, which allowed the film to be released without any cuts and a P13 rating on the grounds that the "gay element" was minor and did not affect the positive elements featured in the film.[251][252] In Kuwait, the movie was withdrawn from cinemas by National Cinema Company which owns most of the cinemas in the country. A board member of the company stated that the Ministry of Information's censorship department had requested it to stop its screening and edit it for things deemed offensive by it.[253]

text: The film also received criticism over its portrayal of LeFou, as many felt that it relied on stereotypes[254] and was used as a way of teasing LGBT+ viewers without providing adequate representation.[255] LeFou's status as a sidekick to the main villain brought about criticism over Disney's queercoding of villains in the past, and his infatuation with Gaston was seen as relying on a stereotype of gay men being predatory towards straight men.[256] Furthermore, the only gay interaction LeFou has is a three-second clip of him dancing with another man at the end of the film. Many saw this as Disney cheating its LGBT+ audiences.[257]

text: Belle and the Beast's relationship[edit]

text: Disney has sought to portray Belle as an empowered young woman,[258] but a debate questioning whether it is possible for a captor to fall in love with their prisoner, and whether this is a problematic theme, has resulted.[259] As was the case with the original animated film, one argument is that Belle suffers from Stockholm syndrome (a condition that causes hostages to develop a psychological alliance with their captors as a survival strategy during captivity). Emma Watson studied whether Belle is trapped in an abusive relationship with the Beast before signing on and concluded that she does not think the criticism fits this version of the folk tale.[260][261] Watson described Stockholm Syndrome as "where a prisoner will take on the characteristics of and fall in love with the captor. Belle actively argues and disagrees with [Beast] constantly. She has none of the characteristics of someone with Stockholm Syndrome because she keeps her independence, she keeps that freedom of thought", also adding that Belle defiantly "gives as good as she gets" before forming a friendship and romance with the Beast.[262]

text: Psychiatrist Frank Ochberg, who coined the term "Stockholm syndrome", said he does not think Belle exhibits the trauma symptoms of prisoners suffering from the syndrome because she does not go through a period of feeling that she is going to die.[263] Some therapists, while acknowledging that the pairing's relationship does not meet the clinical definition of Stockholm syndrome, argue that the relationship depicted is dysfunctional and abusive and does not model healthy romantic relationships for young viewers.[264][265] Constance Grady of Vox writes that Jeanne-Marie Leprince de Beaumont's Beauty and the Beast was a fairy tale originally written to prepare young girls in 18th-century France for arranged marriages, and that the power disparity is amplified in the Disney version.[266] Anna Menta of Elite Daily argued that the Beast does not apologize to Belle for imprisoning, hurting, or manipulating her, and his treatment of Belle is not painted as wrong.[267]

text: Notes[edit]

text:
Jump up ^ Also credited for Darkest Hour.
Jump up ^ Tied with Dunkirk.
Jump up ^ Tied with Mark Bridges for Phantom Thread.

tag: ol


document_title: Right-to-work law

question_text: when did alabama became a right to work state

text: Right-to-work law

text: History[edit]

text: Origins[edit]

text:
According to Slate,
right-to-work laws are derived from legislation forbidding unions from forcing strikes on workers, as well as from legal principles such as liberty of contract, which as applied here sought to prevent passage of laws regulating workplace conditions.[8]

text: According to PandoDaily and NSFWCORP, the term itself was coined by Vance Muse, a Republican operative who headed an early right-to-work group, the "Christian American Association", to replace the term "American Plan" after it became associated with the anti-union violence of the First Red Scare.[9][10] Muse used racist rhetoric in his defense of "right-to-work" laws.[9][10]

text: According to the Conservative think tank, the American Enterprise Institute, the term "right to work" was coined by Dallas Morning News editorial writer William Ruggles.[11]

text: (An unrelated use of term "right to work" had been coined by French socialist leader Louis Blanc before 1848.[12])

text: Wagner Act (1935)[edit]

text: The National Labor Relations Act, generally known as the Wagner Act, was passed in 1935 as part of President Franklin D. Roosevelt's "Second New Deal." Among other things, the Act provided that a company could lawfully agree to be any of the following:

text:
A closed shop, in which employees must be members of the union as a condition of employment. Under a closed shop, an employee who ceased being a member of the union for whatever reason, from failure to pay dues to expulsion from the union as an internal disciplinary punishment, was required to be fired even if the employee did not violate any of the employer's rules.
A union shop, which allows for hiring non-union employees, provided that the employees then join the union within a certain period.
An agency shop, in which employees must pay the equivalent of the cost of union representation, but need not formally join the union.
An open shop, in which an employee cannot be compelled to join or pay the equivalent of dues to a union or be fired for joining the union.[13]

text: The Act tasked the National Labor Relations Board, which had existed since 1933, with overseeing the rules.

text: Taft–Hartley Act (1947)[edit]

text: In 1947 Congress passed the Labor Management Relations Act of 1947, generally known as the Taft–Hartley Act, over President Harry S. Truman's veto. The Act repealed some parts of the Wagner Act, including outlawing the closed shop. Section 14(b) of the Taft–Hartley Act also authorizes individual states (but not local governments, such as cities or counties) to outlaw the union shop and agency shop for employees working in their jurisdictions. Any state law that outlaws such arrangements is known as a "right-to-work state."

text: In the early development of the right-to-work policy, segregationist sentiment was used as an argument, as many people in the South felt that it was wrong for blacks and whites to belong to the same unions. Vance Muse, one of the early developers of the policy in Texas, used that argument in the development of anti-union laws in Texas in the 1940s.[14]

text: Current status[edit]

text: The federal government operates under open shop rules nationwide, but many of its employees are represented by unions. Unions that represent professional athletes have written contracts that include particular representation provisions (such as in the National Football League),[15] but their application is limited to "wherever and whenever legal," as the Supreme Court has clearly held that the application of a right-to-work law is determined by the employee's "predominant job situs."[16]  Players on professional sports teams in states with right-to-work laws are thus subject to those laws and cannot be required to pay any portion of union dues as a condition of continued employment.[17]

text: Twenty-three states, as well as the District of Columbia, do not have right-to-work laws.

text: On November 18, 2016, the Sixth Circuit Court of Appeals upheld the right of local governments to enact local right-to-work laws in Kentucky, Ohio, and the other states of its jurisdiction.[18]

text: In August 2018, 67% of Missouri voters rejected a right-to-work with 33% voting in favor.[19][20][21]

text: Arguments[edit]

text: Minority rights and due process[edit]

text: The first arguments concerning the right to work centered on the rights of a dissenting minority with respect to an opposing majoritarian collective bargain. President  Franklin Roosevelt's New Deal had prompted many U.S. Supreme Court challenges, among which were challenges regarding the constitutionality of the National Industry Recovery Act of 1933 (NIRA).  In 1936, as a part of its ruling in Carter v. Carter Coal Co. the Court ruled against mandatory collective bargaining, stating:

text: The effect, in respect to wages and hours, is to subject the dissentient minority ... to the will of the stated majority .... To 'accept' in these circumstances, is not to exercise a choice, but to surrender to force. The power conferred upon the majority is, in effect, the power to regulate the affairs of an unwilling minority.  This is legislative delegation in its most obnoxious form; for it is not even delegation to an official or an official body ... but to private persons .... [A] statute which attempts to confer such power undertakes an intolerable and unconstitutional interference with personal liberty and private property. The delegation is so clearly arbitrary, and so clearly a denial of rights safeguarded by the due process clause of the Fifth Amendment, that it is unnecessary to do more than refer to decisions of this Court which foreclose the question.[22]

text: Freedom of association[edit]

text: Besides the U.S. Supreme Court, other proponents of right-to-work laws also point to the Constitution and the right to freedom of association.  They argue that workers should both be free to join unions or to refrain, and thus, sometimes refer to non-right-to-work states as forced unionism states.  These proponents argue that by being forced into a collective bargain, what the majoritarian unions call a fair share of collective bargaining costs is actually financial coercion and a violation of freedom of choice. An opponent to the union bargain is forced to financially support an organization they did not vote for, in order to receive monopoly representation they have no choice over.[23]

text: The Seventh-Day Adventist Church discourages the joining of unions,[24] citing the writings of Ellen White, one of the church's founders, and what writer Diana Justice calls the "Loss of free will" that occurs when a person joins a labor union.

text: Unfairness[edit]

text: Proponents such as the Mackinac Center for Public Policy contend that it is unfair that unions can require new and existing employees to either join the union or pay fees for collective bargaining expenses as a condition of employment under union security agreement contracts.[25] Other proponents contend that unions may still be needed in new and growing sectors of the economy, for example, the voluntary and third party sectors, to assure adequate benefits for new immigrant, "part-time" aides in America (e.g., US Direct Support Workforce).

text: Political contributions[edit]

text: Right-to-work proponents, including the Center for Union Facts, contend that political contributions made by unions are not representative of the union workers.[26] The agency shop portion of this had previously been contested with support of National Right to Work Legal Defense Foundation in Communications Workers of America v. Beck, resulting in "Beck rights" preventing agency fees from being used for expenses outside of collective bargaining if the non-union worker notifies the union of their objection.[27] The right to challenge the fees must include the right to have it heard by an impartial fact finder.[28] It should be noted that Beck applies only to unions in the private sector, given agency fees were struck down for public-sector unions in Janus v. AFSCME in 2018.

text: Cost of Living[edit]

text: States enforcing union security provisions in union collective bargaining agreements generally have a higher cost of living,[29][30] however, no systematic analysis identifies union security agreements as a significant cause of this variance.

text: Free riders[edit]

text: Opponents such as Richard Kahlenberg have argued that right-to-work laws simply "gives employees the right to be free riders—to benefit from collective bargaining without paying for it".[31][32][6][33]  In Abood v. Detroit BoE, the Supreme Court of the United States permitted public-sector unions to charge non-members agency fees so that employees in the public sector could be required to pay for the costs of representation, even as they opted not to be a member, as long as these fees are not spent on the union's political or ideological agenda. This decision was reversed, however, in Janus v. AFSCME, with the Supreme Court ruling that such fees violate the first amendment in the case of public-sector unions, since all bargaining by a public-sector union can be considered political activity.

text: Freedom of contract and association[edit]

text: Opponents argue that right-to-work laws restrict freedom of association, and limit the sorts of agreements individuals acting collectively can make with their employer, by prohibiting workers and employers from agreeing to contracts that include fair share fees.  Moreover, American law imposes a duty of fair representation on unions; consequently non-members in right to work states can and do force unions to provide without compensation grievance services that are paid for by union members.[34]

text: In December 2012,  libertarian writer J.D. Tuccille, in Reason magazine, wrote:

text: I consider the restrictions right-to-work laws impose on bargaining between unions and businesses to violate freedom of contract and association. ... I'm disappointed that the state has, once again, inserted itself into the marketplace to place its thumb on the scale in the never-ending game of playing business and labor off against one another. ... This is not to say that unions are always good. It means that, when the state isn't involved, they're private organizations that can offer value to their members.[35]

text: Corporate interests[edit]

text: The unions also contend that the National Right to Work Legal Defense Foundation and National Right to Work Committee have received millions of dollars in grants from foundations controlled by major U.S. industrialists like the New York-based Olin Foundation, Inc., which grew out of a family manufacturing business, but now funds primarily conservative think tanks, media outlets, and university law programs.[36][37]

text: Kahlenberg and Marvit also argue that, at least in efforts to pass a right-to-work law in Michigan, excluding police and firefighter unions—traditionally less hostile to Republicans—from the law caused some to question claims that the law was simply an effort to improve Michigan's businesses climate, not to seek partisan advantage.[31]

text: Studies of economic effect[edit]

text: According to Tim Bartik of the W. E. Upjohn Institute for Employment Research, studies of the effect of right-to-work laws abound, but are not consistent. Studies have found both "some positive effect on job growth," and no effect.[38]  Thomas Holmes argues that it is difficult to analyze right-to-work laws by comparing states due to other similarities between states that have passed these laws. For instance, right-to-work states often have some strong pro-business policies, making it difficult to isolate the effect of right-to-work laws.[39] Looking at the growth of states in the Southeast following World War II, Bartik notes that while they have right-to-work laws they have also benefited from "factors like the widespread use of air conditioning and different modes of transportation that helped decentralize manufacturing".[40]

text: Economist Thomas Holmes compared counties close to the border between states with and without right-to-work laws (thereby holding constant an array of factors related to geography and climate). He found that the cumulative growth of employment in manufacturing in the right-to-work states was 26 percentage points greater than that in the non-right-to-work states.[41] However, given the study design, Holmes points out "my results do not say that it is right-to-work laws that matter, but rather that the 'probusiness package' offered by right-to-work states seems to matter."[42] Moreover, as noted by Kevin Drum and others, this result may reflect business relocation rather than an overall enhancement of economic growth, since "businesses prefer locating in states where costs are low and rules are lax."[43]

text: A February 2011 study by the Economic Policy Institute found:[32]

text:
Wages in right-to-work states are 3.2% lower than those in non-RTW states, after controlling for a full complement of individual demographic and socioeconomic variables as well as state macroeconomic indicators. Using the average wage in non-RTW states as the base ($22.11), the average full-time, full-year worker in an RTW state makes about $1,500 less annually than a similar worker in a non-RTW state. The study goes on to say "How much of this difference can be attributed to RTW status itself? There is an inherent endogeneity problem in any attempt to answer that question, namely that RTW and non-RTW states differ on a wide variety of measures that are also related to compensation, making it difficult to isolate the impact of RTW status."[32]
The rate of employer-sponsored health insurance (ESI) is 2.6 percentage points lower in RTW states compared with non-RTW states, after controlling for individual, job, and state-level characteristics. If workers in non-RTW states were to receive ESI at this lower rate, 2 million fewer workers nationally would be covered.
The rate of employer-sponsored pensions is 4.8 percentage points lower in RTW states, using the full complement of control variables in [the study's] regression model. If workers in non-RTW states were to receive pensions at this lower rate, 3.8 million fewer workers nationally would have pensions.

text: A 2008 editorial in The Wall Street Journal comparing job growth in Ohio and Texas stated that from 1998 to 2008, Ohio lost 10,400 jobs, while Texas gained 1,615,000. The opinion piece suggested right-to-work laws might be among the reasons for the economic expansion in Texas, along with the North American Free Trade Agreement (NAFTA), and the absence of a state income tax in Texas.[44]  Another Wall Street Journal editorial in 2012, by the president and the labor policy director of the Mackinac Center for Public Policy, reported 71% employment growth in right-to-work states from 1980 to 2011, while employment in non-right-to-work states grew just 32% during the same period.[45] The 2012 editorial also stated that since 2001, compensation in right-to-work states had increased 4 times faster than in other states.[45]

text: Polling[edit]

text: In January 2012, in the immediate aftermath of passage of Indiana's right-to-work law, Rasmussen Reports found that 74% of likely U.S. voters supported right-to-work laws, but "most also don't think a non-union worker should enjoy benefits negotiated by the union."[46]

text: In Michigan in January through March 2013, a poll found that 43 percent of those polled thought the law would help Michigan's economy, while 41 percent thought it would hurt.[47]

text: U.S. states with right-to-work laws[edit]

text: The following states (27) are right-to-work states:

text:
Alabama (adopted 1953, Constitution 2016)
Arizona (Constitution, State Constitution Article 25 approved 1946)[48] (adopted 1944)
Arkansas (Constitution, 1947, Amendment 34)
Florida (Constitution, 1944, revised 1968, Article 1, Section 6)[49]
Georgia (adopted 1947)
Idaho (adopted 1985)
Indiana[4] (State law, 2012)
Iowa (adopted 1947)
Kansas (Constitution, 1958, Article 15, Section 12)
Kentucky (adopted 2017)
Louisiana (adopted 1976)
Michigan (State law, 2012)[3]
Mississippi (Constitution, adopted 1954)
Nebraska (Constitution and statute, adopted 1946)
Nevada (adopted 1951)
North Carolina (adopted 1947)
North Dakota (adopted 1947)
Oklahoma (Constitution, adopted 2001)
South Carolina[50] (adopted 1954)
South Dakota (adopted 1946)
Tennessee (adopted 1947)
Texas[51] (adopted 1947, revised 1993)
Utah (adopted 1955)
Virginia (adopted 1947)
West Virginia (adopted 2016) (Went into effect September 2017 due to lower court injunctions)
Wisconsin (adopted 2015)
Wyoming (adopted 1963)

text: In addition, the territory of Guam also has right-to-work laws, and employees of the US Federal Government have the right to choose whether or not to join their respective unions.[52]

text: New Hampshire adopted a right-to-work bill in 1947, but it was repealed in 1949 by the state legislature and governor.[53] Missouri's legislature passed a right-to-work bill in 2017, however, the law was put on hold by a voter-initiative ballot and was defeated by the state's voters in a 2018 referendum before it could take effect.[54]


document_title: All Eyez on Me (film)

question_text: who played dr dre in all eyes on me

question_tokens: who played dr dre in all eyes on me

text: All Eyez on Me (film)

text: Plot

text: At the Clinton Correctional Facility in 1995, a documentary filmmaker shows up with his crew and equipment to sit down with Tupac Shakur.

text: In 1971, Tupac's mother, Afeni Shakur, is released from prison along with her fellow Black Panther Party following her acquittal of several charges. She is pregnant with Tupac and voices her complaints to a reporter over the unfair treatment of black individuals in the country from not only society, but the system sworn to protect its citizens.

text: From an early age, Tupac is taught about black pride, and is witness to multiple injustices in his neighborhood. His stepfather, Mutulu, is a revolutionary who has influenced Afeni, who in turn influences her son and Tupac's sister Set. Mutulu is wanted by the FBI for a robbery of an armored truck, and the murder of two officers and a guard. FBI agents follow Afeni and her children. Mutulu is eventually caught during a raid when cops burst into the Shakurs' apartment, with cops violently pinning Tupac and his sister to the ground.

text: As Tupac gets older, he distances himself more and more from his mother's ideals and behavior. He attends the Baltimore School for the Arts, where he becomes close friends with Jada Pinkett.

text: Tupac's music career begins when he joins Digital Underground for their hit "Same Song". Under his manager, Leila Steinberg, he begins to have hip-hop albums produced. Although his music becomes popular, he gets into hot water with record producers for songs like "Brenda's Got a Baby", which is about a young girl who is raped by her cousin, has a baby on the bathroom floor, turns to prostitution and selling drugs for money, and how she is ultimately murdered on the streets. Tupac argues that the song comes from real stories in the streets of the impoverished and how nobody is willing to help people like the subject of the song.

text: Tupac also begins acting in movies such as Juice, as well as collaborating with other artists like Biggie Smalls, both performing to excited crowds at venues. He generates as much praise as he does controversy in what he does outside of music, such as donating money to poor black citizens.

text: Outside of his performances, Tupac has run-ins with officers when he is caught jaywalking, and is beaten by two officers. On another occasion, he and one of his friends catch two white men assaulting a black man. When they try to intervene, one man pulls a gun on Tupac. He goes back to his limo and gets his own gun. It soon reveals that the two men were off-duty cops, and Tupac is arrested for shooting at them.

text: Tupac becomes involved with a dealer named Nigel, and they do business together in music. When things go awry, Tupac and Nigel have a quarrel. Nigel's guys want to retaliate against Tupac, but Nigel says that nobody touches Tupac unless he says so. The other guys appear to go against Nigel's orders.

text: In 1993, Tupac meets a young woman named Briana, and she is with Tupac along with other men in a hotel room one night. Briana barges into his room hours later crying and screaming, indicating that the other men raped her. Tupac is later on trial for rape and harassment charges.

text: On November 30, 1994, Tupac is attacked by three men in the lobby of Quad Recording Studios. Tupac is shot five times before the men flee. Biggie and other guys in Tupac's entourage rush to him before he is taken to the hospital. When Biggie tries to visit Tupac, he is turned down for not being a family member. Tupac checks himself out of the hospital early against doctors' orders.

text: The following day, Tupac's sentence is declared in his trial. He is found not guilty of rape, but is found guilty of illegal touching, and is thus sentenced to eighteen months in prison.

text: While in prison, Tupac hears Biggie's song "Who Shot Ya?", and interprets it as a diss track bragging about Biggie's alleged involvement in his shooting. Tupac encounters Mutulu in there, who encourages him to work after he gets out. Mutulu later murders another inmate by stabbing him to death. Tupac is also assaulted by two guards while in prison.

text: Following his release, Tupac signs to Death Row Records under Suge Knight, who also collaborates with other artists, like Dr. Dre and Snoop Dogg. Tupac and Dre work on the hit song "California Love". He releases the track "Hit Em Up" as a response to "Who Shot Ya?" in which Tupac brags about supposedly having an affair with Biggie's wife Faith Evans.

text: In Tupac's final months, he decides to part ways with Death Row Records to start his own company to produce more music, movies, and TV shows. Suge reminds Tupac that he is still in debt from other business dealings. Later, however, Suge offers Tupac a chance to become partners, with Suge taking over the West Coast part of Death Row, and Tupac taking over the East Coast. Tupac agrees to it.

text: On September 7, 1996, Tupac, Suge, and the rest of their group are leaving the Mike Tyson vs. Bruce Seldon boxing match at the MGM Grand Las Vegas. One of the Death Row guys alerts Tupac and Suge to a gang member that jumped him and stole his chain. Tupac and company confront the gang member, and Tupac attacks him, knocking him to the ground. Suge and his guys start assaulting the man as Tupac is pulled off of him. Tupac stops by his hotel to change his clothes. He tells Kidada about the situation. She tries to go with him, but Tupac assures her he will only be gone for an hour.

text: Tupac and Suge drive from the hotel with the rest of his guys following them. At the intersection of Flamingo Road and Koval Lane, a Cadillac pulls alongside Tupac's BMW and Tupac is shot multiple times before the Cadillac flees the scene.

text: The ending text states that six days later, Tupac was pronounced dead. To this day, his murder remains unsolved. By the age of 25, he released 15 albums, seven posthumous albums, 713 songs, and seven movies.

text: Cast

text:
Demetrius Shipp Jr. as Tupac Shakur[5][6]
Danai Gurira as Afeni Shakur,[7] Tupac’s mother, a political activist and member of the Black Panther Party.
Lauren Cohan as Leila Steinberg,[8] Tupac’s mentor.
Jamie Hector as Mutulu Shakur,[9] Tupac’s stepfather.
Annie Ilonzeh as Kidada Jones,[10] engaged to Tupac at the time of his death.
Jamal Woolard as The Notorious B.I.G.,[5][6] Tupac’s former friend turned rival.
Kat Graham as Jada Pinkett,[11] a friend of Tupac from the Baltimore School for the Arts.
Dominic L. Santana as Suge Knight,[12] a record producer.
Grace Gibson as Faith Evans,[13] Biggie Smalls’s wife and singer.
Lian Amado as Angie Martinez, radio personality, rapper, and actress.
Stefon Washington as Puff Daddy
Chris Clarke as Shock G[14][15] the lead vocalist for the hip hop group Digital Underground.
Money-B as himself,[16] member of Digital Underground.
Clifton Powell as Floyd,[17] inmate at Clinton Correctional Facility.
Johnell Young as Ray Luv,[17] Tupac’s friend.
Jermel Howard as Mopreme Shakur
Azad Arnaud as Daz Dillinger
Jarrett Ellis as Snoop Dogg[18]
Keith Robinson as Atron Gregory,[19] TNT Records founder.
Rayan Lawrence as Treach[20]
James Hatter III as Yaki Kadafi
Jermaine Carter as Hussein Fatal
E.D.I. Mean as himself
Young Noble as himself
DeRay Davis as Legs
Harold House Moore as Dr. Dre
Hill Harper as Journalist[21]
Cory Hardrict as Nigel aka Haitian Jack[22]
Phil Armijo as Johnny "J"

text: Production

text: Development

text: On February 10, 2011, it was announced that Morgan Creek Productions had developed and would finance and produce the rap legend Tupac Amaru Shakur's biopic titled Tupac, which would follow his life from growing up to his death.[23] Antoine Fuqua was attached as the director of the film, and the script was from Steven Bagatourian, Stephen J. Rivele, and Christopher Wilkinson.[23] James G. Robinson and David C. Robinson would produce the film along with Program Pictures' L.T. Hutton, and Tupac's mother Afeni Shakur as executive producer, with production scheduled to begin that summer. On September 19, 2013, Emmett/Furla/Oasis Films came on board to co-finance and co-produce the $45 million budgeted film along with Morgan Creek.[24] Ed Gonzalez and Jeremy Haft were writing the latest draft of the film.[24] On February 12, 2014, John Singleton again signed on to rewrite, direct and produce the film.[25] On April 16, 2014, Open Road Films acquired the United States distribution rights to the film.[26] Gonzalez, Haft, and Singleton wrote the latest draft of the script for the film, about Tupac's life from his growing up in East Harlem to becoming a legendary songwriter and hip-hop artist, to his death in Las Vegas at the age of 25.[26] On April 7, 2015, it was revealed that Singleton exited the film due to some major creative differences, while Carl Franklin was being eyed to hold the direction duties.[27] On October 28, 2015, The Hollywood Reporter reported that Emmett/Furla/Oasis had sued Morgan Creek over $10 million for breaking the companies co-production agreement signed in September 2013.[28] In the agreement, terms were not to exceed the production budget above $30 million, mutual approval for the lead actor's selection, filming schedule, and distribution and sales agreements.[28] Randall Emmett and George Furla also claimed that they all first signed a distribution deal with Open Road, which Morgan Creek rejected, and then Morgan Creek inked a new deal with Open Road without mutual approval.[28]

text: Casting

text: On November 30, 2015, it was reported that music director Benny Boom would be directing the film now replacing Franklin.[29] Early-December 2015, the film's title was confirmed to be All Eyez On Me[30] On December 24, 2015, newcomer Demetrius Shipp, Jr. was cast in the film to play the role of Tupac. Jamal Woolard also joined the film to play the role of The Notorious B.I.G., Tupac's former friend turned rival, reprising the role Woolard portrayed in the 2009 film Notorious.[5][6] On January 11, 2016, Danai Gurira was added to the film's cast to play Tupac's mother Afeni Shakur, a political activist and member of the Black Panthers.[7] Following Gurira's casting, Variety reported on the next day that Kat Graham had signed on to play Jada Pinkett, a friend of Tupac from the Baltimore School for the Arts.[11] It was revealed later that Dominic L. Santana had been cast as record producer Suge Knight.[12]

text: On January 13, Jamie Hector signed on to star as Mutulu Shakur, Tupac's stepfather.[9] On January 15, Lauren Cohan joined the film's cast to play the role of Leila Steinberg, a key figure in Tupac's life as his mentor.[8] Money B would appear in the film as himself, Tupac's coworker at Digital Underground,[16] Clifton Powell as Floyd, inmate at Clinton Correctional Facility, and Johnell Young as a Tupac's close friend, Ray Luv.[17] On January 19, TheWrap confirmed that Grace Gibson was cast in the film to play Biggie Smalls' wife, Faith Evans, who was reportedly in an adulterous affair with Shakur.[13] On January 22, 2016, Keith Robinson was cast as Atron Gregory, TNT Records founder who first helped Tupac becoming a dancer and then a solo artist.[19] Annie Ilonzeh was added to the cast in February 2016 to play the role of Kidada Jones, engaged to Tupac at the time of his death.[10]

text: Filming

text: Principal photography on the film began in mid-December 2015 in Atlanta, Georgia.[5][6][31] Filming wrapped on April 12, 2016, in Las Vegas, Nevada.[32][33]

text: Marketing

text: On June 16, 2016, on what would have been Shakur's 45th birthday, a teaser trailer for the film was released.[34] On September 13, 2016, the 20th anniversary of Shakur's death, a second teaser trailer was released.[35] It was announced that the film will be released on June 16, 2017. On February 10, 2017, a third teaser trailer was released, confirming Summit, Morgan Creek, Program Pictures, and Codeblack Films as producers and distributors.[36] On April 6, 2017, a fourth trailer was released.

text: No official soundtrack album was released to accompany the movie's release.

text: Reception

text: Box office

text: All Eyez on Me grossed $44.8 million in the United States and Canada and $10 million in other territories for a worldwide total of $54.8 million, against a production budget of $40 million.[3]

text: In North America, All Eyez on Me was released on June 16, 2017, alongside Rough Night, 47 Meters Down and Cars 3, and was originally projected to gross $17–20 million from 2,471 theaters in its opening weekend.[37] It made $12.8 million on Friday (including $3.1 million from Thursday night previews), increasing weekend estimates to $31 million. It ended up debuting to $26.4 million, finishing 3rd at the box office behind Cars 3 ($53.7 million) and Wonder Woman ($41.3 million). Deadline.com attributed the film's success to the release corresponding with Tupac's birthday, as well as audience interest on the subject matter following the success of Straight Outta Compton in 2015.[2]

text: Despite its surprising opening weekend success, the film experienced a historic drop in its second weekend, dropping 78% to $5.8 million, the 16th largest such decline in history.[38] In its third weekend the film was pulled from 1,213 theaters and dropped another 68.6% to $1.8 million, finishing 11th at the box office.[39]

text: Critical response

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 17% based on 77 reviews, with an average rating of 4.3/10. The site's critical consensus reads, "Despite Demetrius Shipp Jr.'s fine lead performance, All Eyez on Me is mostly a surface-skimming, by-the-numbers biopic of a larger-than-life icon."[40] On Metacritic, which assigns a normalized rating, the film has a score of 38 out of 100, based on 20 critics, indicating "generally unfavorable reviews".[41] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[2]

text: Glenn Kenny of The New York Times gave the film a negative review, saying: "Almost all the dialogue is that flat-footed. It’s a stark contrast to the almost always vivid power of Shakur’s own words, which could be profoundly empathetic and pettily profane."[42] Owen Gleiberman of Variety wrote: "Comprehensive but sketchy, richly atmospheric but often under-dramatized, it is not, in the end, a very good movie (there are a few scenes, like Tupac’s initial meeting with Ted Field of Interscope Records, that are embarrassingly bad). Yet it’s highly worth seeing because in its volatility and hunger, and the desperation of its violence, it captures something about the space in which Tupac Shakur lived: a place that wanted to be all about pride and power, but was really about flying over the abyss."[43]

text: Historical accuracy

text: On her Twitter account, Jada Pinkett Smith stated that the film contained many inaccuracies about her relationship with Tupac and why he left for Los Angeles. Smith claimed that Tupac never read the poem he read to her character in the film and that she had no knowledge that it even existed until it was published in his book. She also stated that she never attended one of Tupac's shows at his request and that there was no backstage argument. She did, however, praise the performances of Shipp and Graham.[44] Both Sean Combs and Suge Knight gave blessings to the film, praising their respective portrayals.[45]