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Film Reviews: How to write

1st Review Queen of Katwe


LANGUAGE
Throughout thereview, there is a constant use ofmedia terminologysurrounding
different aspects. Firstly, within the opening paragraph there is a utilisation
ofconventional languageassociated to the filmsgenrei.e.heart-string-tugging
dramawhich carries on into the following sectionMutesis story offers every clich of
the poverty prodigy genreandyet Nair lets a lot of those clichs slide.Through
therepetitionof the wordclichtheaudiencebecome aware that Richards is familiar
with the conventionssurrounding filmgenresandstereotypical
representationssurroundingthemeslike poverty. Additionally,media
terminologysurroundingtechniqueslikemis-enscene,cinematographyandproductionare addressed within the second paragraph such
asscreenplay, production design, costumes, frameandcinematographythus
showing a wide range of knowledge within different areas and processes surrounding the
overallproductionof a film.Usingmedia specific languagedoes primarily target
anaudiencewho not only reads a lot offilm reviewsand is a lover ofcinemabut is also
well educated and highly familiar within thefield of media. Despite significantly
appealing to those who understand and identify withmedia related language,
thestyledoes not confuse those who are unaware as thefilm reviewincludes a wide
range ofterminologyandlanguagethroughout itscontent.
The use oflanguagewithin predominately the opening and third paragraphs establishes
the mainplot andgenreto theaudienceusing descriptivism andadjectivessuch
asPhiona isreasonablyhappy, until she walks into asmallclassroom one day, enticed by
an offer offreeporridge.The amount ofdetail and refinement Richards goes into shows
his development andrepresentationof thestorylineas being extensive. Throughout, he
uses faircritical analysisoffering both negative and positive opinions allowing
thelanguageto beconsistentfor instance within the second paragraph he states how
Nairdoesnt overplay Phionas achievements, wallow in squalor or overdo the rich/poor
divideandNair makes her world vivid and real. She doesnt just scrape the surface for
bits that seem most exotic. She gets stuck in.He also credits othercast memberswork
within theproductionasgorgeous to look at usingmetaphorical languagewhen
describingcostumeandproduction designevery frame sings with pattern and
texture.However, this isjuxtaposedin the following third paragraph in which he is much
more negative andcriticalHowever, it is hard to escape a pertinent fact: chess is
incredibly dull.By using aimperativestatement/fact calling the
overallstorylinedullmay dishearten theviewerfrom watching the film thus decreasing
it success. Furthermore, Richards statesThis in essence is a sports movie again
commenting on thegenreyet Nair has lumbered herself with a sport less spectorfriendly than tiddlywinks. At least that has pieces flying through the air.Using words
likelumberandsportlesscreates an overall negativetonesuggesting that
thestorylinefor the film has held thedirectorback from their full potential. Also
comparing the game of chess totiddlywinks a board game which is certainly not a sport
and is taken less seriously, conveys an insultingtone. Despite this, offering both sides of
opinion (positive and negative) provides a more personal, true and reflectivereviewthat
appeals to a wideraudienceinstead of just being negative or sugar coating it.
Following this, he does then add another positive through the use ofwar/battle
languageto combat thiscrediting Nair forscenesthat contradicts his previous
statementsThe rest of Phionas chess club is made up of huge personalities giving
those scenes some of the requisite sports-movie flavour suggesting her adherence
ofconventionswithin the sportfilm genre. Then, he goes onto say how

thecastingwasexemplarycommenting on theactorsindividually stating such things


asa storm of personality,perfectly understatedandshows her breakthrough was no
flukewhich indicates to theaudiencethat perhaps thecastis theUSPof this film.
Lastly, within the final paragraph he again uses aconstant comparisonof negatives and
positives ending on the negative of thenarrative structureThe beats of the story are
ones youll have seen countless times before. You know how this goes. How it
ends.insinuating that theplotandendingis predictable and boring yetjuxtaposesthis
by sayingwhen the triumph of adversity story is as well as told as this, its always a
pleasure to hear it again suggesting that he personally would watch the film more than
once encouraging thereadersto as well, aiding in the films success.

STRUCTURE/CONTENT
Firstly, the overallplotis introduced within the first basicinformationsection of
thereviewproviding theaudiencewith an insight and understanding towards thecontentof the
film if they were unaware or hadnt heard of it before. This is just a generalised overview of
thestorylinetherefore doesnt create anyspoilersor give too much information away which
would essentially put someone off of the film thus raisingenigma codes. Theplot synopsisfirst
establishes theprotagonistyet does not name her just identifies her biological sex asa young
girlhowever then goes onto reveallocationandsetting growing up in one of the poorest areas
of Uganda.Once these are established thestorylineis briefly touched upon in terms of
thethemesurrounding chess, a personal journey and poverty; essentially being a success story
which within the first paragraph is revealed to be atrue story. This insight immediately allows
theaudienceto decide whether or not they want to watch or will enjoy the film based solely on
theplot.

The first paragraph extends on theplotoverview, touching on thenarrative


structureandnarrativeitself in more detail throughdescriptive language. It also begins to
introduce thelead actorswithin brackets and what theirrolesare within theproductiontells the
true story of Phiona Mutesi (Mandina Nalwanga)anda single mother (Lupita Nyongo). Within
this paragraph Richards also credits the directorNair providing apersonal opinionsurrounding her
other films by sayingher best movie in over a decadeconveying how he himself is knowledgeable
within thetopicof film as he knows about her otherproductionsand he himself believes that this
is her best. The inclusion of this may appeal to anaudiencewho are alsocinema loversor just are
aware of Nairs other works in which they may or may not be a fan themselves.

Within the second paragraph,genre conventionsare once again spoken again showing thefilm
reviews writerto have extensive knowledge within thesubjectof film whilst also further
commenting on theplotandscenesyet also commenting on thedirectorsutilisation of such
aspects andtechniques. For instance he talks about thepoverty prodigy genrewhilst states how
Nair establishes this in anunconventionalwayyet Nair lets a lot of those clichs slide. He also
comments on othercast memberslikeWheelers screenplay,Stephanice Carrolls production
design,Mobolaji Dawodus costumesandSean Bobbitts cinematographyshowing his
extensive amount ofresearchinto who did what within theproductionnot just theprimary onscreen actorsanddirector. Within thetext, Richards explores thestorylineand also makes his
own personal suggestion towards why Nair has utilised or portrayed a certain aspect in a certain
way e.g.Perhaps its because Uganda has been her home for several years, butwhich
isconventionalof afilm reviewto have elements that make up thiswritersownperspectiveinto
the film.

The third paragraph depicts a more overall negativetoneconveying the other side of his
opinionsjuxtaposingthe previous paragraphs positivity. Also, once again he comments on the
overallplotandgenreand what he particularly does not like about it indicating his own personal
stance to theaudience allowing them to see a more balanced approach within thereview. Yet
further down the paragraph he again makesreferenceto positives when talking about
particularscenesandcasting, predominately praising theactors. Amongst this areferenceto
another film that one of thelead actorshas been in identifyingNyongoplaying her firston screen
rolewith Queen Katwe sinceher Oscar win for 2013s 12 Years A Slavewhich again shows his
extensive knowledge into film. Additionally, it shows his researchinto the backgrounds of
thecastincluded within thisproductioncreditingand introducing to theaudienceto another film
which may encourage them to watch thatproductionbut also this particular film if they
enjoyed12 Years A Slave thus, this acts as a slight comparison point. Plus, by using
areferencetheUSPof the film can be identified through usingstar marketingas
theaudienceof12 Years A Slavemay be more encouraged to watch this film if it includes
anactorthat was within thatproductionhence forth enticing fans of theactorto also watch
aiding in the films success

Finally, within the closing/last paragraph it ends on another constant personal portrayal of a
negative and positive aspect. Yet the final statement useslanguagesuch
astriumphandpleasureconveying how the overallfilm reviewends on a high note thus
providing a lasting effect/impression on the audienceas being positive perhaps enhancing their
desire to watch the film, hence forth aiding in the films success.

TONE
The article is predominately written with an advanced andtechnical high
rangeofvocabularyusing words likesqualorandanalytical referencesthe triumph over
adversity storyenhances a moresophisticatedandformal toneto theaudience. This perhaps
allows a more educatedprimary audience to be targeted. However, this isjuxtaposedwith a use
ofcolloquial languagethroughonomatopoeia oohing and aahing and bawling through their own
matcheswhich provides the impression that therevieweris talking directly to thereaderin
aconversational style.Despite this,thereviewerdoes not use anyslangwithin thereviewwhilst
avoidingabbreviationsand constantly utilising ahigh level of vocabularythus allowing
thereaderto gain a more knowledgeable impression of Richards whilst he conveys an
almostauthoritative tonewhich is evident through hisextensive research(e.g. into the cast and
crew)and detailed response. However, he also does show hint of asarcastic tonethrough the

statementAt least that has pieces flying through the airin which a comparison totiddlywinks
provideshumourcombined with the use ofpunswithin themain title,captionetc. also
createscomical effectproviding a more laid backatmospherical tonewhich contrasts to the
seriousness of thehigh level of vocabulary.

2nd Review The Greasy Greaser


LANGUAGE
Predominately seen within the second paragraph, there is a use ofmedia
terminologysurrounding different aspects. Throughout thereview genreandgenre
conventionsare touched upon(e.g. some cult movies, one of those film-within-afilmandwind up classified with even further-from-mainstream oddities)showing
thewritersknowledgable and informative approach. Additionally, the use
ofcomparisonsare seen throughout
thereviewwhenreferencingotherproductionsordirectorslikethere are echoes of
early John Watersandis as determinedly, relentlessly monstrous as Dieter Laser in the
Human Centipede seriesthus, targeting anaudiencethat have acultural capitalon
films.Media specific languagesurrounding various aspects is used such asshot on farfrom glamorous Los Angeles locations, last feel, carefully establishes the unique
mood of the filmanddistinctive musicthus showing thefilm criticsknowledge into a
wide range ofconventionalareas of focus within themedia and overallproductionof a
film.Usingmedia specific languagedoes primarily target anaudiencewho not only reads
a lot offilm reviewsand is a lover ofcinemabut is also well educated and highly familiar
within thefield of media. Despite significantly appealing to those who understand and
identify withmedia related language, thestyledoes not confuse those who are unaware
as thefilm reviewincludes a wide range ofterminologyandlanguagethroughout
itscontent. In addition, thelanguageused within the review is predominately positive
suggesting that thecritics overall view of the film is conveyed as highly praised yet there
is a use of negatives and positives in order to create a balancedperspectivesuch as the
statement your secret favourite film or a movie youll never forgive a date for taking
you to.This allows theaudienceto believe therevieweris trustworthy as he is offering
both sides instead of just primarily being negative or too positive. Lastly, therevieweris
clearly highly educated within writing as she uses a wide range ofliterary devices such as
asimilestick to your memory like gum to a shoeandsibilancesmugly snarling
screen credits,son sport humongousandalliterationtiny penis prostheseswhich is
used to set the atmospherical toneand depict acomical effect. The use oflistingis used
within thereviewnaked but slathered in goop he murders a) people that tick him off
and b) peoplewhich gives thereviewa unique and quirkystylemuch like that of
thecharactersand the overall film.
STRUCTURE/CONTENT
Within theinformation boxseen in the first section of thereviewan overallsynopsisof
theplotis introduced which provides theaudiencewith insight and further
understanding surrounding thecontent of the film. This is significant and helpful to
thereaderin either reminding them what the film is about if they arefilm loversand are
already aware of theproductionor it gives the necessary information to aviewerwho has
never heard of it before. The summary is just ageneralised overview of
thestorylinetherefore doesnt create anyspoilersor give too much information away
which would essentially put someone off of the film thus raisingenigma codes. Theplot
synopsisfirst establishes theprotagonistBig Ronniewhilst also identifying thelead
actorin brackets (St Michaels)which clearly signifies that the chosenactorsare a
means ofstar marketing, acting as theUSPfor the film. It then goes onto to reveal

characteristics surrounding theprotagonistin which it is made known that he is unusual


through the statementcovers himself in grease. Additionally, the villain of
thenarrativeis revealed to be in fact be theprotagonistwhich answers theenigma
codeset within themain image andtitleof the film. It also revealed that he is an
aggressive character who isnt a people-friendly person at all through
thewordingstrangles folks who irritate him. Next, theantagonistis revealed and also
namedBig Braydenin which thelead actoris listed in brackets as well(Elobar).
Relationships between characters is established aslocationis introduced to
theaudiencein which they gain the understanding thatBig Ronnieis the father ofBig
Braydenhis sonand that they live together whom he lives. The father-son
relationship is not the only one introduced, aromantic notionis made aware through a
third female character being conveyedJanet (De Razzo). Furthermore, the mainplotis
briefly acknowledgedRonnie schemes to take her away from Braydenand the use
ofgreaseandstranglesconveys thisnarrativesignificantly links to themain
titleThe Greasy Strangler.This insight immediately allows theaudienceto decide
whether or not they want to watch or will enjoy the film based solely on theplotwhilst
also targeting those who are a fan of the lead actorslisted showing the importance ofstar
marketingin order to attract itsaudiencethrough theUSP.

Theopening paragraphinstantly establishes thegenreof the film through the capitalised


first linesome cult movieswhich generalises thisproductionunder this dominant
category as it is already made aware thatThe Greasy Strangleris listed as
multiplegenres horror, thriller and black comedy. It also addresses theaudiencewith
the use offolkssignifying the general assumption that is attached when watching these
sorts of films. Therefore, within this paragraphconventionsenlisted to cult movies are
introduced subtly by fitting them under the same association through the use
ofsomeandthey get accused of making them up this generalises both
theaudiencesreactions and thegenreitself. Next, it goes on to differentiate this film
from others through addressing thetitleyet it does still sayone of those film-within-afilmso again thereviewerutilises thesemantic fieldof consistency surrounding
theconventionalaspects under the specificgenre. Lastly, it ends with aconversational
styledirectly addressing theaudiencewith apronounyou.

Within the second paragraph,media terminologyis utilised showing thefilm reviews


writerto have extensive knowledge within thesubjectof film whilst also commenting on

thedirectors techniques,mis-en-sceneelements,narrative structures,character


representationsandfilm references. By referencing otherproductionsthedirectorhas
been involved in once again shows her extensive researchinto the background of
thefilmmakerin which if thereaderis already a fan of thedirectoror that particular
film, it may encourage them to watch thisproductionthus aiding in the films success. It
also acts as a slightcomparison pointas it will include similarities perhaps not
instorylinebut in thedirectorsown original and uniquestyle. Therefore, through the use
of areferenceit can be identified that thedirectoris utilised as aUSPof the film as
their fans will be enticed to watch another one of hisproductions. Additionally, by listing
other films anddirectorsas acomparison point(e.g.There are echoes of John Waters
or even the worst of TromaandJohnny Suede, Meet the Hollowheads or Big Meat
Eater) fans of theseproductionswill be more likely to watch this film as they believe if
it is anything like thesereferencesthey will also enjoy this one. Also, this shows that the
filmrevieweris acinema lovertherefore signifying that theprimary targetedand
intendedaudienceare expected to also bereaderswho love films and have extensive
knowledge into film. The overalltoneandsemantic field of this paragraph is positive
through the use oflanguagesurrounding multiple aspects such as thevisualsa great
deal of low-budget visual inventionand thedirectorsintentions an admirable desire
to turn stomachs by showing things few people want to look for as long as he holds his
shots.That statement itselfironicallycontrasts the negatives listed liketurn
stomachsandfew people want to look atthrough thephrasingandwording. Also, this
is evident when describing the choice incastinghe deploys astonishingly committed (if
deliberately one-note) performancestherefore, it overwrites the negatives with a
positivetone.

The third paragraph extends on theplotoverview, touching on thenarrative


structureandnarrativeitself in more detail throughdescriptive language. It again
introduces thelead actorswithin brackets and what theirrolesare within
theproductionwith accompanying descriptive personality traits of that particular
character. For instance, the introduction of theprotagonistin extended detail in
comparison to theplot overviewGargoyle-likegeriatric bastard Big Ronnie (St
Michaels),also the antagonisthis weedy, whiny grown son Big Brayden (Elobar)andhe
goes to a car wash run by his blind friend Big Paul (Gil Gex). Newman goes into detail
surrounding thestorylinein which most of it is revealed but she avoids touching upon

theendingwhich would essentially ruin the film for thereadersdecreasing the likelihood
of them going to watch theproduction.

Again, the forth paragraph extends on theplotandnarrative structurewhilst


makingreferencesthat act ascomparison pointsto other existing films
andgenresthrough statements liketheres a touch of Steptoe & Sonandwho talks
like a refugee from a hardboiled 1930s comedy. Similarly to the previous paragraph, the
overall feel is positive as thereviewerwritesincluding a merciless routine that gets
funnier and funnierandleading to an unforgettable hootie tootie disco cutie singing
routine. Thenarrative structureis praised being described asa perfect, inevitable-yetunexpected tragic twist that even has a sequel hookwhich conveys
thereviewerspersonal stance of theendingand film (through the holisticsemantic
fieldof positivity) whilst also enticing and encouraging theaudienceto become excited
about the prospect of asequelto this original film. This statement also helps establish
theendingdepicting it in a positive light yet not revealing too much information
therefore increasing their desire to watch it in order to see
thisunexpectedandperfectending,thus raisingenigma codes.

The closing/last paragraph contradicts the overalltoneof thearticlethrough the use of


negatives which balances out thereviewmore in terms of positive and negative personal
opinions yet the holistic overview is still predominantly enthusiastic/favourable. This is
evident through statements likeIt is full of uncomfortable sightsandgnome-like,

smugly snarlingwithdescriptiveslikegrotesqueandmonstrous. Additionally,


Newman refers to other films theprotagonist/lead actorhas been in (including
thegenresthey are under)whose few screen credits include the direct-to-video zombie
filmThe Video Dead (1987)and the recent Satanic cult picture Another (aka Mark Of The
Witch)once again showing herresearchinto film and backgrounds of
thecast,creditingand introducing to theaudienceto another films which may encourage
them to watch thatproductionbut also this particular film if they enjoyed thelead
actorsother features thus, this acts as a slightcomparison point. Plus, by using
areferencetheUSPof the film can be identified through usingstar marketingas
theaudienceofthese filmsmay be more encouraged to watch this film if it includes
anactorthat was within thatproductionhence forth enticing fans of theactorto also
watch aiding in the films success. She alsoreferencesafilm seriesThe Human
Centipedeas acomparison pointand a way to target/stretch to a wideraudiencewithin
thereviewas those who like this series will be encouraged to watchThe Greasy
Strangler.

TONE
The overalltoneof thefilm reviewis humorous through the utilisation
ofconversationalandcolloquial languagethat directly addresses theaudience(e.g.but
yes it does exist and you have to see it to believe it,get accused of making it up,
skits,andwormhole from an alternative universe). This createscomical effectwhich
cleverly adheres to the filmsgenreas comedy is reflected through this use
ofconversational styleand humour. Thereviewhas sections that isformalwith the use
ofmedia terminology predominately seen within the second paragraph and the use of
multiplefilm referenceswhich shows that thewriterclearly has a lot of knowledge
surrounding thetopicof film which also conveyed that thisarticleis targeting
anaudiencewho are also widely knowledgeable in this specific area. Yet there is also an
element ofinformalitywith use of phrases likehootie tootie disco cutiewhich
inquotation marksis evidently a line within the film yet the decision to include this
shows that thefilm revieweris also trying to reflect thisstylein her own writing.

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