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Doubt is a 2008 American drama film written and directed by John Patrick Shanley, based on his Pulitzer Prize–winning and Tony Award–winning 2004 stage play Doubt: A Parable. Produced by Scott Rudin , the film takes place in a Catholic elementary school named for St. Nicholas .
Doubt, A Parable is a dramatic stage play written by American playwright John Patrick Shanley. Originally staged off-Broadway at the Manhattan Theatre Club on November 23, 2004, the production transferred to the Walter Kerr Theatre on Broadway in March 2005 and closed on July 2, 2006 after 525 performances and 25 previews.
On review aggregator website Rotten Tomatoes, it holds an approval rating of 86% based on 90 reviews, with an average score of 7.0/10; the site's "critics consensus" reads: "Merchants of Doubt is a thought-provoking documentary assembled with energy and style, even if it doesn't dig as deep as it could."
Shadow of a Doubt is a 1943 American psychological thriller film noir directed by Alfred Hitchcock, and starring Teresa Wright and Joseph Cotten. Written by Thornton Wilder , Sally Benson , and Alma Reville , the film was nominated for an Academy Award for Best Story for Gordon McDonell.
Jesse Stone: Benefit of the Doubt is a 2012 American made-for-television crime drama film directed by Robert Harmon and starring Tom Selleck, Kathy Baker, and Kohl Sudduth. Based on the characters from the Jesse Stone novels created by Robert B. Parker , the film is about the police chief of a small New England town who returns from his forced ...
Reasonable Doubt (also known as The Good Samaritan) [3] is a 2014 Canadian-German crime thriller film directed by Peter Howitt and written by Peter A. Dowling. The film stars Samuel L. Jackson, Dominic Cooper, Erin Karpluk, Gloria Reuben and Ryan Robbins. It received generally negative reviews from critics.
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Bobby LePire of Film Threat gave the film a score of 10/10 and wrote that the "acting is stellar, the writing is honest, and what it says about race, perception, and your true self is sincere." [2] Carlos Aguilar of the Los Angeles Times called the film a "mostly hackneyed lesson on racial biases desperately stumbling to appear provocative." [3]