Read the following passage and questions, then choose the right answer from options, the answer should be one of A, B, C, D.

<passage>:
You can't be both a queenly queen and a womanly woman, says the script (by Michael Hirst)--at least not in 1554. (The director, Shekhar Kapur, made the same point in his grim 1994 Indian epic The Bandit Queen , against a backdrop of scrubby plains along the Ganges.) Is this feminist take historically accurate? Probably, although the evidence suggests that Elizabeth had developed a head for stratagems earlier in life (her position had been precarious since the beheading of her mother) and came to the throne with few girlish illusions about How Things Work in a barbarous state. That said, the movie's approach makes for juicy melodrama. The tone of Elizabeth comes nearer to the nihilistic relish of Jacobeans such as John Ford and John Webster than to the more sorrowful horror of the Elizabethan dramatists Ben Jonson and William Shakespeare. It's even closer to a Jacobean drama of our own age: The Godfather (1972), which it emulates by cutting back-and-forth between queen and courtiers in prayer and the roundup and slaughter of Catholics on their privies, in bed with their mistresses, and so on. Their severed heads look on, wide-eyed, as Elizabeth directs her hair to be shorn--images of her girlhood flashing by as her locks rain down--and then walks weightily to her throne, now a chalk-faced gorgon. With all due respect to Blanchett, Bette Davis, and Glenda Jackson, my favorite Elizabeth I remains Miranda Richardson's capricious, baby-talking psychopath on the BBC comedy Blackadder II . (Casting about for a new lord high executioner, she mews to Rowan Atkinson, "There are thousands of Catholics simply dying to have their heads sneaked off --and there's no one to organize it.") But Blanchett comes in a close second, pulling off the transition from hapless young woman to coolly ruthless monarch with uncommon subtlety. Gradually expunging all empathy from her moist, pink eyes and permitting her visage to ossify, she gives this carnival of carnage an awe-inspiring center. Whatever you make of Velvet Goldmine (opinions have ranged from rapturous to casually dismissive), it's like no other musical ever made. It's determinedly swirling, discursive, elliptical. Now the story is told by an omniscient narrator, now a TV reporter, now a participant. Now it's flashing back, now forward. Every other line of dialogue is a cue for one of its dazzling numbers, largely covers of songs by Brian Eno, Bryan Ferry, and T. Rex. The narrative is a challenge to keep up with, but then, great artists often invent their own syntax. In the '80s, Haynes employed Barbie dolls to depict the rise and wasting away from anorexia of the singer Karen Carpenter. Lucky audiences who caught Superstar: The Karen Carpenter Story (it was shelved when Richard Carpenter served the producers with an order to cease and desist exhibition) began by laughing at this elaborately posed, soft-rock femme, only to discover by the climax that the cultural forces that were eating at her (and that kept her from eating) had grown heartbreakingly palpable. Poison (1991), Haynes' Genêt-inspired exploration of transgression, didn't overcome its own artiness. But Safe (1995), the story of a Reagan-era housewife (Julianne Moore) convinced that her environment is poisoning her, is an entrancing meditation on the power of culture to crush the individual. Despite its ironic detachment, the film draws you into its heroine's sickly state: Breathing oxygen from a canister inside a high-tech igloo, she dwindles to nearly nothing, the modern incarnation of the Incredible Shrinking Man. (It was partly my passion for Haynes' films that led me to accept a job offer from his indefatigable producer Christine Vachon last year to collaborate on a nuts-and-bolts book about producing, Shooting To Kill . So my review of Velvet Goldmine --like my review of Vachon's other recent release, Happiness --should be read as the work of a partisan. But not a blind partisan.) Is Brad Pitt the worst actor on earth? The case could be made, and Meet Joe Black could serve as Exhibit A. Pitt plays two roles in this seven course schlockfest. He's (briefly) a slick but wholesome yuppie and then (interminably) Death, who takes over the young man's body when he's thumped by a couple of cars in the movie's most promising moment. Bleached so blond that he looks like an irradiated android, Pitt expels all expression from his face and all tone from his voice. He speaks very, very slowly. The stunt half-works, at least until he's supposed to undergo an inner transformation and acquire human emotions--whereupon his face remains just as blank. Pitt's conception of the role is an idée fixe by someone who doesn't appear to have an idée in his head. Martin Brest, the director, is known for shooting a ton of footage and then "finding" his films in the editing room. What do you suppose he "found" when he scrutinized these miles of celluloid with Pitt doing nothing and taking his sweet time doing it? The first adaptation of this story (originally a play) was the 1934 Death Takes a Holiday , which came in at a perky 78 minutes. A conceit this fragile needs to whiz along to keep our disbelief in suspension, but Meet Joe Black grinds on for three hours (longer than either Beloved or Saving Private Ryan ), and Pitt acts as if he has leased the screen by the year. Anthony Hopkins plays the zillionaire communications baron whom Death enlists in the hope of understanding the human condition--an odd choice for a tour guide, since most people's condition doesn't involve personal helicopters, sprawling mansions on Long Island Sound, or Manhattan apartments that sport Olympic-size swimming pools. Four screenwriters, among them the great Bo Goldman ( Melvin and Howard , 1980 Shoot the Moon , 1982), labored on this moldy script, which features characters who ask questions that begin "Am I to understand that ...?" and a corporate villain who directs another character to "wake up and smell the thorns." It apparently never occurred to even one of these overpaid scribes to eliminate Hopkins' rueful realization that he'd "never write the great American novel"--no kidding, given his flagrantly Welsh accent. Actually, Hopkins gives this humanistic magnate considerable weight, so that whether or not Death takes him before he can stop to smell the roses and make amends to his neglected children becomes a matter of some suspense. The rest of the cast works with equal fortitude, especially Jeffrey Tambor (Hank "Hey now!" Kingsley on The Larry Sanders Show ) as Hopkins' milksop son-in-law and Marcia Gay Harden as his party planning, perpetually wilting elder daughter. As the younger daughter, the dark eyed, spaghetti thin Claire Forlani has to carry the picture's bathos on her exquisite shoulders. Her tremulous thoroughbred act wears thin, but it's hardly her fault: She has to emote like mad opposite a black pit of death--or is that the Black Death of Pitt?

<question>:
Which is probably the author's favorite movie?

<options>:
A Velvet Goldmine
B Meet Joe Black
C Elizabeth
D Shooting to Kill

<answer>:

A