imdb movie assignment

IMDb Movie Assignment

You have the data for the 100 top-rated movies from the past decade along with various pieces of information about the movie, its actors, and the voters who have rated these movies online. In this assignment, you will try to find some interesting insights into these movies and their voters, using Python.

Task 1: Reading the data

IMDb Movie Assignment

You have the data for the 100 top-rated movies from the past decade along with various pieces of information about the movie, its actors, and the voters who have rated these movies online. In this assignment, you will try to find some interesting insights into these movies and their voters, using Python.

Task 1: Reading the data

Subtask 1.1: read the movies data..

Read the movies data file provided and store it in a dataframe movies .

IMDB Movie Assignment: Start to Analysis: Part - 1

Subtask 2.1: reduce those digits.

Now, as you can see in the dataset we have two Columns of Gross and Budget . The values that are present under these columns are present in large figures. Therefore, performing the analysis part using this kind of data is a bit complex task. We are going to convert these figures from $ to million $ , so as make these columns easily readable.

Follow the given code to follow the same:

  movies ["Gross"] and movies["budget"] indicated that we are performing the operation in the movies dataset, where Gross and budget are the column names.

Subtask 2.2: Let's Talk Profit!

It can be noted that the figures are now converted into smaller ones.

Moving ahead in this article, we are going to practice the following four steps:

• We are going to create a new column named profit to calculate and Profit.
• We are going to learn how to sort the column into ascending or descending order.
• We will learn how to call certain top columns for analysis.
• We are going to visualize budget vs Profit using Matplotlib.
• Also, we are going to find all entries with negative profit.

1. Calculating Profit

To calculate the profit we need to know that:  Profit= Gross- budget

Also, in the Dataset we have the Gross and Budget column. So, to calculate Profit we find need to subtract the budget Column  from the  gross column  as shown below:

and then Create a new column to store the profit calculated as below:

2. Sorting Columns

To sort the values into ascending or descending order sort_values()  is used. The method is followed by Column name to decide what column we want to sort. Follow the syntax to sort the data below:

Now, let's apply the above syntax to sort the data by Profit Column in the dataset:

NOTE: Data is by default is sorted into ascending order. Therefore, to sort data into descending order we have used ascending= False.

3. Reading top Columns

So to read top n rows in Pandas we use .iloc[1st position: last position] Function.  The code to read the top 10 rows with maximum profit is shown below:

NOTE: the last position is never displayed as an output in the .iloc function .

Now, let's Store the top 10 rows in a variable named Top10, follow the code below:

4. Visualizing budget v/s Profit

As we all know, Visualization means presenting data in diagrammatic form to attain some meeting out of it. In python, to do some visualization we need to export the Matplotlib module. Follow the syntax for the same:

Now that we want to draw a graph with a budget and Profit column we will draw it using a scatter plot. Follow the code to do the same:

• movies.Profit and movies.budget indicates the columns for movies data frame i.e(Profit and budget).
• xlabel and ylabel are used to give names for the x and y-axis.
• plt.scatter is used to plot a Scatter Plot.
• figsize[x, y] defines the size of the graph with respect to the x and y-axis.
• plt.show() is used to display final graph.

5. Finding negative profit

negative values are those values that are marked less than one. So, to find negative profit we can find those profits whose values are less than 0. Follow the given code for the same:

To store the above operation in a variable neg_profit follow the steps:

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The Assignment

“ The Assignment ” is a film that arrives in theaters having already inspired vast outpourings of anger from two groups —the transgender community, which appears to be offended by its very premise, and action buffs, who are put off both by the premise (albeit for different reasons) and what they feel is a lazy execution that fails to offer the requisite thrills. While I am sympathetic to the complaints of both groups (somewhat more for the former) and recognize that it is indeed deeply flawed in many areas, I cannot quite agree with either. This is a modestly scaled B-movie by one of the best genre filmmakers of our time, Walter Hill , that has enough skill and personality going for it to make it worth checking out, even if it doesn’t quite live up (or down, depending on your perspective) to its borderline sleazy premise.

And what is that premise, you ask? In a nutshell, Frank Kitchen ( Michelle Rodriguez … just keep reading) is a ruthless San Francisco hitman who runs afoul of Dr. Rachel Kay ( Sigourney Weaver ), a brilliant but deranged surgeon who has lost her license for conducting various rogue experiments. Frank kills Dr. Kay’s brother, and the good doctor seeks vengeance and experimental research into the importance of physical identity on the psyche. She arranges with crime boss Honest John Hartunian ( Anthony LaPaglia ) to have him grab Frank and bring him to her secret lab, where she proceeds to perform gender reassignment surgery on him. Dr. Kay asserts that the surgery will take away Frank’s desire to kill. Needless to say, Frank sees things a little differently, and, once she discovers that the surgery cannot be reversed, she methodically hatches a grisly revenge plot on everyone involved with her transformation from Honest John and his goons all the way up to Dr. Kay. Helping Frank in her quest is Johnnie ( Caitlin Gerard ), a nurse with whom Frank had a one-night stand before his transformation and who doesn’t seem particularly nonplussed by recent developments, though it seems that she may be harboring a few secrets of her own.

At first blush, one can easily understand why the transgender community might be a tad put off by the very existence of “The Assignment,” but the actual film is nowhere near as offensive as it might initially seem. For one thing, the film as a whole is so willfully and deliberately pulpy in tone (I could easily see a short version of this tale fitting perfectly into the confines of a “ Sin City ” film) that it is hard to take the alleged provocations on display with any degree of seriousness—this is a film that is so archetypal in nature that the sort-of sweethearts at its center are literally named Frank(ie) and Johnnie. Additionally, to suggest that Frank is meant to represent all transgender people is nonsense because he is clearly not one himself, and, outside of the obvious physical construct, little about him changes after undergoing his forced surgery. I would also point out that no less of a filmmaker than Pedro Almodovar used the notion of unwilling gender reassignment surgery as a plot point in his own unabashed genre exercise, “ The Skin I Live In ,” and no one seemed especially put off by it even though the deployment there was arguably more questionable from a taste perspective than what is seen here.

That said, “The Assignment” is still a problematic work in many ways from a purely cinematic perspective. The screenplay by Hill & Denis Hamill (which Hill has been toying with since the late ‘70s) is an awkward construction with much of the story presented in a series of flashbacks, as the now-incarcerated Dr. Kay recounts the story to another psychiatrist ( Tony Shalhoub ). This concept is especially problematic since Hill is at his best when he allows characters to define themselves purely through their actions instead of relentlessly explaining themselves as they do here. The film also screams out for a more overtly stylized visual treatment in the vein of something like his great “ Streets of Fire ”—a fact underlined by the occasional bits of black-and-white photography and comic book-style transitions—that might have also helped to underscore the kind of pulpy approach Hill was clearly going for. Another big problem, at least at first, is the casting of Michelle Rodriguez as Frank. There is nothing wrong with her performance but the early scenes in which she portrays the male version of Frank, complete with a wildly unconvincing beard and a lingering close-up of his genitalia for good measure, do inspire a few bad laughs right when the film is trying to establish itself. For some viewers, it may never recover from that.

For those who can get beyond that, “The Assignment” contains plenty of points of interest. Sigourney Weaver is pretty much a blast throughout as the snidely condescending doctor who sets all of the events into motion. As for Rodriguez, once she sheds the beard, her performance improves greatly. Obviously, we know she can do the steely-eyed badass stuff as well as anyone else but she also gets a couple of quieter moments amidst the chaos where she displays a more vulnerable side without stepping out of character—in one, she consults a doctor about whether the surgery can be reversed and begins shyly inquiring about certain personal details regarding her new equipment. In the other, she is about to go to bed with Johnnie when she realizes that she has no idea of how to approach lovemaking from a female perspective. (“You’ll do fine,” she is reassured in a line that is both funny and strangely touching.) As for Hill, while he is clearly working with a lower budget than usual here (with Vancouver substituting, not too convincingly, for San Francisco), he is still able to establish a convincingly noir attitude toward the material and the scenes of violence are done in a spare and economical style that is a relief from the over-the-top pyrotechnics of most current action films. (He also gets bonus points for employing Giorgio Moroder to deliver a cheerfully retro synth score.)

It is easy to see how the dramatic excesses of the plot could prove offensive to the transgender community, though I can just as easily see “The Assignment” one day becoming a cult favorite in the way that the once-controversial “ Cruising ” would eventually find some fans within the gay community that once scorned it. As an exercise in unapologetic pulp fiction, it gets the job done in a smart, efficient and slyly subversive manner. As the latest entry in the Walter Hill filmography, it definitely belongs on the second tier. Even though it may not be the equal to a classic like “ The Driver ” or “Streets of Fire,” it will do until that next masterwork does come along.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

• Sigourney Weaver as Dr. Rachel Kay
• Caitlin Gerard as Johnnie
• Michelle Rodriguez as Frank Kitchen / Tomboy
• Tony Shalhoub as Dr. Ralph Galen
• Paul McGillion as Paul Wincott
• Anthony LaPaglia as Honest John Hartunian

Writer (story)

• Denis Hamill
• Walter Hill
• Giorgio Moroder
• Raney Shockne

Cinematographer

• James Liston
• Phil Norden

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You have the data for the 100 top-rated movies from the past decade along with various pieces of information about the movie, its actors, and the voters who have rated these movies online. In this assignment, you will try to find some interesting insights into these movies and their voters, using Python. This is a compulsory individual assignmen…

Nikhil1499/IMDB-assignment

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Imdb-assignment.

You have the data for the 100 top-rated movies from the past decade along with various pieces of information about the movie, its actors, and the voters who have rated these movies online. In this assignment, you will try to find some interesting insights into these movies and their voters, using Python.

This is a compulsory individual assignment wherein you will download a movie dataset, write Python code to explore the data, gain insights into the movies, actors, votes, ratings and collections, and submit the code.

• Jupyter Notebook 100.0%

• Cast & crew
• User reviews

Metacritic reviews

The assignment.

• 80 The Hollywood Reporter Todd McCarthy The Hollywood Reporter Todd McCarthy The somber tone and low-end production values may not be exactly in tune with young neo-noir enthusiasts, but more seasoned fans of the genre and the filmmaker will recognize and embrace Hill’s use of noir to play with and comment on topical issues in a deliciously subversive way, political correctness be damned.
• 75 The Film Stage Ethan Vestby The Film Stage Ethan Vestby (Re)Assignment is ultimately canny in genre-play and unique in its time, factors that don’t necessarily make it great, but, beyond old-man-auteurism apologia, still hold somewhat of a flame in the modern age.
• 40 Screen Daily Wendy Ide Screen Daily Wendy Ide This is a film which doesn’t take itself very seriously, and it will work best with an audience which takes the same approach.
• 40 We Got This Covered Matt Donato We Got This Covered Matt Donato Rodriguez’s transformation is hackneyed and ham-fisted, Hill’s action lacks excitement, unnecessary comic-book panel swipes add “character” – there’s nothing noteworthy about this hunt for retribution.
• 33 IndieWire Eric Kohn IndieWire Eric Kohn Cheesy without being self-aware, hobbled by rampant transphobia that the screenplay’s too dumb to address, this inane burst of campy stupidity can’t get beyond the sheer absurdity of its very existence.
• 20 The Guardian Benjamin Lee The Guardian Benjamin Lee Every single decision made by Hill is bad.
• 20 ScreenCrush Matt Singer ScreenCrush Matt Singer If (Re)Assignment played more like a spoof of vintage pulp and less like a tacky rehash of it, that choice could have worked. Instead, it just comes off as clueless — about gender as well as filmmaking.
• 20 Variety Dennis Harvey Variety Dennis Harvey Nobody — not even viewers willing to settle for good, unclean B-movie fun — is done any favors by something as crude as (re)Assignment, which gracelessly mashes together hardboiled crime-melodrama cliches and an unintentionally funny “Oh no! I’m a chick now!!” gender-change narrative hook.
• 16 The Playlist Kevin Jagernauth The Playlist Kevin Jagernauth Walter Hill’s legacy of pushing the edges of genre conventions made the prospect of (Re)Assignment, at least on paper, potentially dangerous. But the filmmaker’s touch is completely lost here, and the only danger the film winds up posing is to the time spent by those who choose to watch it.
• 16 Consequence Sarah Kurchak Consequence Sarah Kurchak Once the giddy critical pile-on and hate-watching settles down, the (justified) moral outrage that (re)Assignment tries to thwart will end up being the regrettable and forgettable film’s only lasting legacy.
• See all 20 reviews on Metacritic.com
• See all external reviews for The Assignment

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