William Benjamin
- Writer
- 3 on MovieCove
What are William Benjamin's films like?
Across a limited sample of 3 MovieCove titles with a thematic analysis, their films lean Morality and Bonds.
Themes
What they feel like to watch
Ironic 0 · Wry 1 · Earnest 2
Light 2 · Serious 1 · Dark 0
A split, not a type: Grounded 2 · Stylized 1 · Heightened 0
Gentle 2 · Charged 1 · Intense 0
Steady 2 · Shifting 1 · Whiplash 0
A split, not a type: Straight-faced 0 · Some laughs 1 · Funny 2
Slow burn 1 · Even-paced 2 · Relentless 0
A split, not a type: Casual 2 · Engaged 0 · Full focus 1
Easy watch 2 · Affecting 1 · Heavy 0
Resolved 2 · Open-ended 0 · Ambiguous 1
Moods and endings
AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.
Where can I watch William Benjamin's films?
As of October 24, 2026, 1 of their 3 MovieCove titles stream on a subscription or free service, on The Criterion Channel (1).
Subscription and free streaming for William Benjamin's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.
Filmography
3 credits, 3 with a MovieCove page.
The Champagne Murders(1967)
Midcredits score: 35th percentile of all films
Be Beautiful But Shut Up(1958)
Midcredits score: 36th percentile of all films
Plucking the Daisy(1956)
Midcredits score: 38th percentile of all films
Career shape
Across a limited sample of 3 MovieCove titles from 1956 to 1967.
How do William Benjamin's films land?
Their typical MovieCove film has a Midcredits score in the 36th percentile, the median of all 3; across a limited sample of 3 films with reception data, the typical film sits in the 42nd percentile for acclaim.
- 25th to 49th3
Shape of the crowd
None of their 3 titles divides audiences: 2 are Broadly Agreed.
- Broadly Agreed2
- Mixed1
Reviewers score the plot and story 37/100 in their films, across 3 reviewed titles; fans 47, detractors 23. The element that speaks to their work as a writer.
Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.
Who does William Benjamin work with?
People who share at least 2 of William Benjamin's MovieCove titles, grouped by what they did on them; Raymond Eger shares the most, 3.
Directors
- Marc AllégretShared titles: Be Beautiful But Shut Up (1958), Plucking the Daisy (1956)See all 2 shared titles with Marc Allégret
Writers
- Roger VadimShared titles: Be Beautiful But Shut Up (1958), Plucking the Daisy (1956)See all 2 shared titles with Roger Vadim
Editors
- Suzanne de TroeyeShared titles: Be Beautiful But Shut Up (1958), Plucking the Daisy (1956)See all 2 shared titles with Suzanne de Troeye
Producers
- Raymond EgerShared titles: The Champagne Murders (1967), Be Beautiful But Shut Up (1958), Plucking the Daisy (1956)See all 3 shared titles with Raymond Eger