define film review essay

What is a Film Review — Definition, Examples & Top Critics

I n cinema, film reviews hold a significant place, serving as a bridge between the film industry and viewers. They provide an analytical perspective that helps audiences decide what to watch and understand the nuances of a film. In this article, we will delve into the definition of a film review, its critical components, and shed light on some iconic film review writers who have significantly shaped the field.

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What is Film Review in Cinema?

First, let’s define film review.

Film reviews hold a unique place in cinema acting as both promotional tools and critical analysis pieces. With the rise of platforms like Letterboxd and Rotten Tomatoes, they are becoming more relevant in the cinematic landscape.

FILM REVIEW DEFINITION

What is a film review.

A film review is a type of critique that provides an evaluation of a film, encompassing various aspects such as the plot, themes, direction, script, and performances. Originating in the early 20th century with the advent of cinema, film reviews have evolved from mere opinion pieces in newspapers to a significant form of journalistic writing. The primary purpose of a film review is to inform the reader about the film and offer an informed opinion about its various elements. It serves as a guide for viewers, helping them decide whether the film is worth their time and money.

Criteria for Movie Review:

Overview of the film, analysis of the plot and themes, evaluation of the script, direction, and acting, personal opinion and rating, movie review format, components of a good film review.

Film reviews are a blend of various vital components, each contributing to a comprehensive analysis. From evaluating performances and storytelling to dissecting technical aspects, a well-rounded review provides a holistic perspective. By examining these elements of a movie review format we can gain a deeper understanding of the film's impact and appreciate its artistic merit.

This includes a brief synopsis that sets the context without revealing any spoilers . The overview should pique the reader's interest and give them a sense of the film's storyline. Here is one of the greatest film critics, Roger Ebert, on what a film review should do. 

Roger Ebert What A Movie Review Should Do

This involves a deeper look into the narrative and the underlying themes of the film. It should explore the storyline's complexity, originality, and coherence.

This component assesses the technical aspects of the film, such as the screenplay , cinematography , direction, music, and performances. It also includes an assessment of how these elements contribute to the overall impact of the film. 

This is much more popular with the rise of film criticism on YouTube in which film critics can simultaneously play and dissect a scene for an audience. In this video by Nerdwriter1, Paul Thomas Anderson’s There Will Be Blood is dissected visually in a way that would be difficult or at least less effective without a video component.

One Way To Deconstruct There Will Be Blood

This is where the reviewer shares their personal view and overall impression of the film. It often includes a rating system, which can help readers quickly gauge the reviewer's opinion.

A good film review strikes a balance between objective analysis and personal perspective. It is also important that the review uses engaging language and style to hold the reader's attention.

What is Film Review Important For?

Influence of film reviews.

Film reviews have a significant impact on public opinion and can greatly influence the success of a film.  A positive review from a reputable critic can attract more viewers and increase the film's box office revenue. On the other hand, a negative review can dissuade audiences from watching the film.

Attracting Viewers

Positive reviews can generate buzz and attract a larger audience to the theaters. They serve as a powerful tool in building anticipation and interest among moviegoers. Take Rotten Tomatoes for example.

Many film goers opt to check the Rotten Tomatoes reviews of a film before they decide to watch or see it in cinema. 

While this can work well for some movies in attracting viewers, it can negatively impact other films. This is especially true with the way Rotten Tomatoes rating system works. For a great insight on to how the platform works and the possible problems with its ratings, check out the video below. 

The Problem With Rotten Tomatoes

Box office success.

Positive reviews often contribute to a film's box office success. When critics praise a movie, it can lead to increased ticket sales and financial profitability for the filmmakers.

Influence on Perception

Reviews shape how people perceive a film. Positive reviews create a positive perception, making viewers more likely to give the movie a chance. On the other hand, negative reviews can deter potential viewers and impact the film's overall reception.

Critical Acclaim

When a film receives critical acclaim from respected reviewers and publications, it can achieve iconic status. This recognition elevates the film's reputation and can lead to long-lasting popularity and cultural significance.

Parasite’s Historic Oscar Wins in 2020

Film reviews hold considerable sway in the film industry. They not only impact the number of viewers but also shape how a film is perceived and remembered.

Related Posts

• What is Cinematography? →
• Understanding Story Structure →
• How Does Rotten Tomatoes Work? →

Movie Review Example and Writers

Iconic film review writers.

The field of film criticism has been significantly influenced by several notable writers who have left a lasting impact on the industry. These writers, through their insightful analyses and thought-provoking perspectives, have shaped the way we perceive and appreciate films.

Their contributions have not only elevated the art of film criticism but have also enriched our understanding of cinema as a whole. 

Roger Ebert

Known for his acerbic wit and insightful commentaries, Ebert was one of the most influential film critics. His reviews, published in the Chicago Sun-Times for over four decades, were known for their accessible writing style and keen observations.

Pauline Kael

Writing for The New Yorker, Kael was known for her passionate and provocative reviews. She championed many underappreciated films and filmmakers, influencing public opinion and the course of American cinema.

Pauline Kael on Criticism

Andrew sarris.

A leading proponent of the auteur theory in America, Sarris's writings in The Village Voice and The New York Observer have had a profound impact on the way films are analyzed and appreciated.

Leonard Maltin

Renowned for his annual publication, "Leonard Maltin's Movie Guide," Maltin's reviews are known for their succinctness and precision. His work has guided generations of moviegoers.

Leonard Maltin's Movie Guide

These critics, with their unique perspectives and styles, have made enduring contributions to film criticism, influencing not just audiences but filmmakers as well.

Film reviews, like the movies themselves, are a form of art. They capture the essence of a film, dissect it, and present it to the audience in a refined form. With their insightful analysis, they help us, the viewers, to better understand and appreciate cinema. 

Remember, a review is not meant to replace or reflect your own judgment of a film but to complement and deepen your viewing pleasure. So, read, watch, and form your own judgment — because nothing compares to your own cinematic experience.

How Does Rotten Tomatoes Work?

As we delve deeper into the world of film reviews and their unique influence, let's turn our attention to a specific and influential platform. In the next article, we explore the intricacies of the Rotten Tomatoes ratings system.

Up Next: Rotten Tomatoes Explained →

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How to Write a Movie Review

Writing a Film Review

Movies have become a cultural mainstay of our society. Not only are they art and entertainment, but they have also become a way for people to bond and make connections. Finding someone who has a similar taste in movies can create new friendships and start interesting conversations. That's why understanding how to analyze a movie and write movie reviews is such a useful skill. 

Do you need to know how to write a movie review for college? Or how to write a movie critique? Or maybe just how to do a movie review? In this article, you will learn how to write a movie review step by step, as well as get an in-depth guide into each section of a movie review.

What is a Movie Review?

A film review essay is more than just a plot summary followed by a recommendation. A movie review analyzes different elements of a movie and mixes personal opinion with objective analysis. The goal of the movie review is to tell the reader about the details of a movie while giving them enough information to decide for themselves whether it's worth watching or not. Of course, a good movie review also has to be interesting and engaging! 

How to Write a Good Movie Review

More than most other pieces of writing, there are a lot of steps to take before actually getting into writing a movie review. But don't worry though, most of these steps are pretty fun and if you follow them, you will know how to review movies. 

Watch the film! 

It goes without saying that you need to watch a movie before you write a review for it, so, before you do anything else, watch the movie at least once. Don't worry about trying to pick up specific details on your first watch, just enjoy the movie and get a general impression of whether you liked it or not and what you liked or disliked. Ideally, you should watch the movie at least two times. On your second and third viewings, pay attention to movie review criteria like cinematography, acting, dialogue, character development, deeper meanings, etc. Read some film review examples to get a sense of the things they talk about.

Pause the movie on your second and third viewings and take notes on things that stand out to you. Don't be afraid to take as many notes as you want, after all these notes are just for you.  You might not use all the notes you have taken, but they will help you compose the main part of your body paragraphs.

Express your opinions

Once you have watched the movie a few times and taken notes, make a list of the strongest opinions you have about the movie. If you think that the quality of acting was one of the best parts of the movie, use your notes to come up with specific examples. You should have between 3 and 5 key opinions that you will elaborate on when writing a film review along with examples to back up your claims.

Think about your audience

The language you use is going to change based on who you are writing the movie review for. If it is an assignment for school or university, then you may have to use more technical language.  If you're writing an article for a website or personal blog, then think about who the audience is and use language appropriate for them. Keep in mind that your audience also depends on the genre of the movie you are critiquing. A movie review for a serious period drama will have a different audience than a buddy cop comedy and therefore different language. Look at a movie review sample from different genres to get an idea of the type of language to use. 

Research the actors

Having big movie stars associated with a film is often one of the main selling points of a movie.  If an actor is critically acclaimed, it’s especially important to mention the awards they have won as this is often a sign of the overall quality of the movie. It's also possible that you didn't like the movie overall, but one of your favorite actors was in it so you enjoyed the movie and another fan might enjoy it too. 

Do background research

An easy way to make a movie review interesting is to search for interesting details about the making of the movie. It may be worth mentioning if it was shot in a particularly beautiful place or a unique location, or if the special effects were practical rather than CGI. Include interesting casting decisions or other actors that were considered for a particular role. Think about what information could be interesting to someone who might want to watch the movie and include those details. Go over some movie critique examples to get inspiration. 

Research the professionals

People can be fans not just of the actors, but of directors, writers, cinematographers, costume designers, and many other elements of filmmaking. Many directors are auteurs, which means they have a very particular visual style or storytelling method. How much time you spend on this section is dependent on your audience. If you're writing for social media or a blog for general people, then this might not be interesting to most. But if you're writing for film school or for a specific audience interested in filmmaking, then this section will need to be more elaborate. Look at a film review example written for different audiences to understand the differences. 

Draft an outline

Now that you've done all the required research, it's time to come up with a review outline. An outline is always useful when doing any piece of writing because it gives you a  chance to visualize the structure and plan how you want to incorporate information. This is the general film review format.

Introduction

• Brief summary of the film
• Discuss plot, tone, characters
• Discuss creative and technical elements
• Your opinions

Conclusion 

Come up with a catchy title.

Almost more than any other piece of writing, a movie review’s title needs to be engaging. A title like ”film review of (name of the movie) might be to the point, but isn't going to stand out. A good title should grab the reader's attention and make them want to read more. A few ways you can do this is by talking about a specific actor or director, or by using one of the main plot points of the movie. For example, “A Romantic Comedy for the Unromantic”,  or “Chris Pratt Plays Against Type in the Best Possible Way”. Look at the titles of some movie review examples for inspiration!

Write your review

It's finally time to get to the actual writing! The next part of this article talks in-depth about each section of a film review. 

People aren't going to take a review seriously if you have spelling mistakes or grammatical errors. If it's an assignment for school, then you’re going to lose marks because of mistakes like that. Make sure you reread your paper a few times and check for typos and other silly mistakes.  Read the paper out loud once or twice to get an idea of if it has a good flow. Don't be afraid to move sections around if you think it helps you build a stronger case.

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How to Write a Film Review

Do you want a ‘how to write a movie review’ template? Let's go over the specific parts of a film review and what to include in each one.

Your first sentence needs to capture the reader's attention. You can do this by stating an interesting fact about the movie, starting off by expressing your opinion of whether it's good or bad, mentioning some of the important actors, comparing it to other movies in the genre or to real-world events, whatever it is, make sure it's catchy!

Next, give background information about the movie. This includes things like the title, release date, studio, important cast members, director, budget, etc. Make sure to highlight any achievements of the movie, for example, if it was nominated for any awards. The same goes for the director as well as important members of the cast. This shouldn't just be a dry stating of facts, rather this should be a collection of interesting information about the background of the movie. 

Finally, end your introduction paragraph with your thesis. In the case of a film review, your thesis is essentially what you thought about the film. Without giving away too much, express your overall impression of the movie noting particular things that you thought stood out or were weak.

Summary of the story

The trick to writing the summary of the story is giving readers an idea of what to expect without giving away any important plot points or spoilers. The goal of this section isn't to explain the plot of the movie, It's to make sure that people have a basic understanding of the story so that the rest of the review can make sense. Describe the setting of the movie, which includes the main locations and time period. Introduce the main characters (including the name of the actor in parentheses after the name of their character). And go over the general storyline. 

Plot elements

This is when you start explaining what you thought about the movie. Start with an analysis of the plot itself. Did it have a rising action that builds suspense? Was the climax a good payoff? What were your overall impressions of the movie? How did it make you feel? What do you think the purpose of the movie was and did the director succeed in their goal? 

This is also the section where you get to talk about the different characters in the movie. Why did you enjoy certain characters? Were some characters better developed than others? Could some characters have benefited from more development? Was the villain particularly interesting? 

Think about the overall mood of the movie, did it change over time? How did the tones and symbols of the movie emphasize elements of the plot? Remember that any point you make in this section has to be backed up by examples. So if you say that there are several plot holes that make the movie complicated to understand, mention the specific scenes.

Creative elements

There are a lot of technical and creative elements in a movie that can stand out even if the overall plot and story weren’t the best. On the other hand, even a great story can be spoiled by bad dialogue or set design. These are some of the creative elements you should pay attention to especially when rewatching the movie and taking notes.

Dialogue : This can refer to the overall writing of the movie as well. If you can get your hands on a script then read it! When thinking about dialogue ask yourself, did the conversation between characters seem natural and flow easily? Or did it seem choppy and unnatural? 

Cinematography : Cinematography refers to the camera effects and the choices of how to film a certain scene. The lighting, the choice of camera angles, essentially the unique perspective of the story as told through the camera. 

Editing : Editing refers to the transition between different scenes as well as how well the movie flows together. This could include things like clever montages, longshots, different perspectives, etc.  

Costumes : Some movies, especially historical movies, fantasy films, and science fiction films, depend heavily on costume design. Costumes are an integral part of making a character stand out or making the world seem more real.

Set Design : Set design refers to the backgrounds of scenes. Some sets might be more elaborate whereas others can be minimalistic. Each choice has its pros and cons and effective set design creates proper ambiance, setting the tone and mood for a scene or the movie.

Music and Sound : Sometimes the movie has a great soundtrack or just incredible sound effects that help make it stand out.

Stunts : More important for action movies, but in general stunts and action sequences can be a major selling point for a film.

Special Effects : Most movies rely on some amount of special effects, and whether it be CGI, or practical, or a combination of the two, the quality is important.

Once you have analyzed multiple different elements of the story from its plot, characterization, and other technical and creative elements, you can state your opinions and provide evidence for them. Make sure you refer to specific scenes or specific situations when looking for substantiating evidence. Remember that the goal of a movie review is not to just state whether you liked or disliked a movie, it is to analyze it in an objective way, and give information so that somebody else can decide whether they want to watch the movie or not.

In the conclusion you express your main opinion of the movie along with the most important pieces of evidence. You can talk about the purpose of the movie and whether the director was successful in showing that purpose. End with a recommendation of whether the movie should be watched or not, along with suggestions of movies that are similar to it.

Did you like our Film Review Guide?

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Mistakes to avoid

You now know how to write a review on a movie but let's take a look at some mistakes that you should be careful to avoid.

Not focusing on the film

It's easy to start writing about things like the historical events the movie you loved is based on or the importance of the Marvel Cinematic Universe overall rather than focus on the movie itself.  While those elements can be interesting to include as background information, the point of a film review is to go over a particular movie so that is what you should spend the most time on.

Not providing evidence 

A common mistake people make when they write movie reviews is to state their opinions without any objective analysis. An easy way to overcome this mistake is to make sure that you provide evidence for any claims that you make.

Spoilers are an easy way to make sure that people will be upset with your movie review. It is common to accidentally give away too much, especially when writing the plot summary. Find the line between giving enough information so that people understand the general story and revealing important plot twists and turning points. Read some sample movie reviews for examples of how to avoid spoilers.

Using personal pronouns

Statements like “I did not like the special effects” or “I did not like the pacing of the movie” are clearly expressions of opinion. It is better to make statements like “the special effects in certain action scenes were cartoonish and took away from the realism of the film”. 

A movie review essay can be incredibly fun to write, especially if you have a strong opinion about the movie. But keep in mind that a movie review isn't just about your opinion, it has to include an objective analysis with claims backed up by evidence from specific scenes. It's difficult to have a movie review definition, but a great movie review is a blend between personal opinion and objective analysis. It informs the reader about the strengths and weaknesses of the movie while letting them make the decision whether they want to watch it or not. 

If you found your way to this article because you were looking for help on how to write a movie review for college, then you're in the perfect place. If you need any help, don't hesitate to reach out to the experts at Studyfy. At Studyfy, we offer a wide range of custom writing services, coursework writing services, and essay writer service . Our team of experienced writers is well-equipped to handle any writing task you may have, no matter the complexity or urgency. Just say, " write a paper for me ," and we will ensure that you receive a high-quality custom essay that meets all your requirements. Trust us to provide you with the best coursework writing services and custom essay writing that will help you achieve your academic goals.

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How to Write a Film Review: Preparation, Steps, Examples

• by Anastasiya Yakubovska
• 06.10.2022 25.09.2023
• How to write ...

How to write a film review (true, professional, and comprehensive) and not be limited to the phrase “What a great movie!”? In this article, you will find answers to the next questions:

• How long is a movie review? 
• How many paragraphs does a movie review have? 
• Features of the Film Review 
• What is the main purpose of a film review? 
• Functions of the Movie Review 
• How to Write a Film Review: Preparation for Writing 
• 10 Questions You Need to Answer Before You Start Writing a Movie Review 
• How to Write and Structure a Film Review: Step by Step 

What Is a Film Review?

A film review is a critical judgment or discussion that informs about the release of a new film and contains its analysis, assessment, summary, as well as personal impressions and experiences after watching.

How long is a movie review?

On average, the length of a film review is about 1000 words.

How many paragraphs does a movie review have?

It is recommended that the film review should consist of 5-7 paragraphs.

Read also article “How to Write a Book Review: Step by Step and Examples”.

Features of the Film Review

A film review is a persuasive piece of writing, it has some features as:

• A less formal style of writing. 
• You need to write objectively about the film. 
• But, on the other hand, movie reviews contain personal thoughts and feelings. 
• The film review’s audience is wider and more diverse. 

Movie reviews can be written by two groups of reviewers: professional critics and ordinary consumers. Therefore, the text of the review will differ. In the first case, when the reviewer is a professional critic, he will describe the movie instead of evaluating it. While consumer critics mostly write from a personal perspective. 

What is the main purpose of a film review?

The main purpose of a film review is to inform readers about the film (what can expect from it) and to help them determine if they want to watch the movie. 

Functions of the Movie Review

The film review performs several functions at once: it informs, analyzes, persuades, and entertains. If you can include all of these points in your review, then you will have an excellent result in the end. 

How to Write a Film Review: Preparation for Writing

Writing a review is, of course, a creative process, but you should not forget about the analytical approach to creating a convincing and high-quality text. You must take the work responsibly, which we will do now.

To write a professional film review, you first need to complete the following preparation steps:

• Of course, the first step is to find a film, if it has not been previously chosen by the manager/client/boss. There will be more chances to write a good review if the film was liked by both – film critics and you personally.
• Watch the movie at least 2-3 times. After the first viewing, you will get a general impression of the picture, and try to fully immerse yourself in the atmosphere of the film. Pay attention to the details the next time you watch it: the sound, the actor’s play, the editing, the plot. 
• If you have difficulty understanding the events covered in the film (for example, historical), be sure to find additional information and research the topic.
• If after two viewings you still do not have a final assessment of the film in the form of a brief thesis, watch the film again. You can look at other works of the director who worked on this film, this will help you determine his characteristic style. Also, as an option, you can look at the game of actors in other films (for comparison).
• When watching a movie, take notes: key scenes, interesting plot twists, inconsistencies, details, and quotes. Then, based on them, you can build a review text, and a good quote can become an excellent epigraph.
• Find information about the filming: location, duration, season, details about the filming process, difficulties the production team faced, casting, etc. Such information will make the review more attractive to readers.
• If the film is nominated for awards and prizes, please include this information in your film review. For a potential viewer, such an assessment of the film will be a weighty argument in the direction of -> compulsory viewing.

10 Questions You Need to Answer Before You Start Writing a Movie Review

• Does the film split into multiple parts? A sequel, prequel, or one of the movie series? 
• What is the film genre (action, comedy, historical, drama, fantasy, Western, political, thriller, gangster, horror, tragicomedy, romance, sports, mystery, science fiction)? Is the movie based on real or fictional events?
• Did the screenplay writer create an exciting plot?
• Is the rhythm of the film slow and quiet, heavy and static, or chaotic and frantic?
• What is the film’s rating according to the MPAA? ( G – General Audiences. All ages admitted. PG – Parental Guidance Suggested. PG-13 – Parents Strongly Cautioned. R – Restricted. Under 17 requires an accompanying parent or adult guardian. NC-17 – Adults Only.) 
• Are there any films with a similar/same theme? Sometimes it is worth mentioning some of them in a review, as a comparison.
• How can you characterize the work of a cinematographer? How accurately are the most expressive compositional, lighting solutions, as well as camera angles, selected and embodied?
• Is the film entertaining or covers a serious themes?
• Was the casting successful? Did all the actors cope with their roles?
• Is the atmosphere of the film tense, mysterious, sinister, relaxed, or romantic?

The answers to all of the above questions will help you understand how to write a film review, and above all, create a draft version of your future review. But, of course, this is not enough for the final result.

How to Write and Structure a Film Review: Step by Step

Writing a film review is a long and complicated process. Therefore, it is better to break it down into stages and move step by step. This will help you not to get lost and not get confused in the details.

• The catchy introduction.

The introductory part of the review should contain important information about the film: title, director, release date, and genre. 

You can mention nominations and awards, as well as indicate the box office (if the numbers are impressive) and the cast. 

In addition to “technical” aspects and a simple presentation of the plot, it is necessary to express your impression of the film in the form of a thesis, for example, to tell:

• about the connection of the film’s central idea with current events and social problems;
• about the similarity of the film’s plot with a personal life situation, personal experience, and feelings;
• about the connection of technical elements (lighting, sound, editing) with the theme of the film.

2. Pass the verdict.

Do not torment the reader and express your opinion about the film in the first paragraphs of the review.

You should not leave all the most interesting “for later”. If you decide to give a final assessment of the film at the end of the review, what are the chances that the reader will read to this end?

3. Write a summary of the plot.

Choose 4-5 main events.

Avoid the film’s ending and spoilers. Keep the intrigue. If you want to spoil and share an unusual story development, warn the reader about this.

4. Bring the feelings.

In addition to presenting the plot of the film, you should add emotions to the text of the review and show what you felt while watching it.

5. Define the main purpose of the movie. 

Perhaps the film’s purpose is hidden in its plot. Or maybe the film does not pretend to solve global problems at all. Perhaps the film is entertaining, and this is its advantage – it is relaxed and simple.

Sometimes the main idea of a serious and deep film can be found in an interview with a film crew, a screenwriter, or a director.

6. Add some details of the filmmaking process. 

It is important to know the measure and not to overdo it with the terminology. Here’s what you can write about:

• Cinematography: visual mood, lighting elements, shot sizes and widths, camera angles, etc. 
• Sound. The main goal is to create the necessary atmosphere in the film. Sound in movies includes music, dialogue, sound effects, ambient noise, background noise, and soundtracks. 
• Editing is the creation of a finished motion picture from many shot scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors’ performances to effectively “re-imagine” and even rewrite the film to craft a cohesive whole.
• Mise-en-scène (from French – placement on the stage) is the mutual arrangement of the actors and their environment on the set, natural or pavilion. Mise-en-scene includes landscapes, visual effects, the psychological state of the characters, etc.

7. The deep meaning.

You may be able to spot specific symbolic items, repetitive moments, or key phrases that give depth to the film.

8. Give examples.

It is not enough to say “ an excellent game of actors ”. Explain what exactly caught your attention (appearance, facial expressions, costumes, or movements of the actor). 

9. A convincing conclusion.

Write about the moments in the film that made the biggest impression on you. Share a recommendation. To whom and why do you advise to watch this movie?

10. Reread the review text several times .

Edit, and correct mistakes that can spoil the impression even from a professionally written film review.

Examples of Film Reviews

To consolidate the received information, let’s move from theory to practice. Below are two examples of film reviews.

Apocalypse Now

Review by Roger Ebert

Francis Ford Coppola’s film “Apocalypse Now” was inspired by Heart of Darkness, a novel by Joseph Conrad about a European named Kurtz who penetrated to the farthest reaches of the Congo and established himself like a god. A boat sets out to find him, and on the journey the narrator gradually loses confidence in orderly civilization; he is oppressed by the great weight of the jungle all around him, a pitiless Darwinian testing ground in which each living thing tries every day not to be eaten.

What is found at the end of the journey is not Kurtz so much as what Kurtz found: that all of our days and ways are a fragile structure perched uneasily atop the hungry jaws of nature that will thoughtlessly devour us. A happy life is a daily reprieve from this knowledge.

A week ago I was in Calcutta, where I saw mile upon square mile of squatter camps in which hundreds of thousands live generation after generation in leaky huts of plastic, cardboard and scrap metal, in poverty so absolute it is impossible to see any hope of escape. I do not mean to equate the misery of those hopeless people with a movie; that would be indecent. But I was deeply shaken by what I saw, and realized how precious and precarious is a happy life. And in such a mood I watched “Apocalypse Now” and came to the scene where Col. Kurtz (Marlon Brando) tells Capt. Willard (Martin Sheen) about “the horror.”

Kurtz is a decorated hero, one of the best soldiers in the Army, who has created a jungle sanctuary upriver inside enemy territory, and rules Montagnard tribesmen as his private army. He tells Willard about a day when his Special Forces men inoculated the children of a village against polio: “This old man came running after us and he was crying, he couldn’t see. We went back there, and they had come and hacked off every inoculated arm. There they were in a pile, a pile of little arms. . . .”

What Kurtz learned is that the Viet Cong were willing to go to greater lengths to win: “Then I realized they were stronger than we. They have the strength, the strength to do that. If I had 10 divisions of those men, then our troubles here would be over very quickly. You have to have men who are moral and at the same time who are able to utilize their primordial instincts to kill without feeling, without passion, without judgment.” This is the “horror” that Kurtz has found, and it threatens to envelop Willard, too.

The whole movie is a journey toward Willard’s understanding of how Kurtz, one of the Army’s best soldiers, penetrated the reality of war to such a depth that he could not look any longer without madness and despair.

The film has one of the most haunting endings in cinema, a poetic evocation of what Kurtz has discovered, and what we hope not to discover for ourselves. The river journey creates enormous anticipation about Kurtz, and Brando fulfills it. When the film was released in 1979, his casting was criticized and his enormous paycheck of $1 million was much discussed, but it’s clear he was the correct choice, not only because of his stature as an icon, but because of his voice, which enters the film from darkness or half-light, repeating the words of T.S. Eliot’s despairing “The Hollow Men.” That voice sets the final tone of the film.

Film review: example

Diana biopic Spencer wobbles between the bold and the bad

By Nicholas Barber

You may feel that you’ve had enough of Princess Diana’s story on the big and small screens, what with Naomi Watts taking the role in Oliver Hirschbiegel’s awful Diana in 2013, and then Emma Corrin playing her in the most recent season of The Crown, with the mantel set to be passed in Elizabeth Debicki in the next run. But, to give it its due, Pablo Larraín’s Spencer marks the only time the People’s Princess has been shown delivering a lecture on Anne Boleyn to an old coat that she has just stolen off a scarecrow, and then having a chat with the ghost of Boleyn herself shortly afterwards. The Chilean director doesn’t go in for conventional biopics, as anyone who has seen Jackie (starring Natalie Portman) or Neruda will know. And here again he has gone for a surreal portrait of his iconic subject. The snag is that his experimental art house spirit keeps bumping up against the naffness and the familiarity of British films set in stately homes, so his psychodrama ends up being both ground-breaking and rib-tickling.

It’s set over three days in 1991, from Christmas Eve to Boxing Day, at Sandringham House in Norfolk. The rest of the Royal Family has arrived for their holiday in a fleet of chauffeur-driven cars, but Diana (Kristen Stewart) rocks up on her own in a Porsche convertible, having taken a detour to visit the aforementioned scarecrow: her dilapidated childhood home, from the days when she was Lady Diana Spencer, is a field or two away from Sandringham. Her late arrival concerns the sympathetic head chef (Sean Harris) and bothers the Scottish army veteran (Timothy Spall) who has the job of ensuring that everything goes the way the Queen wants it to. Her Majesty’s insufferable Christmas traditions include weighing all the guests when they arrive and when they leave to ensure that they’ve been sufficiently gluttonous. But Diana is in no mood for festive japes. Her Christmas present from Charles (Jack Farthing) – a necklace with pearls the size of golf balls – is identical to the one he has given his mistress. And the whisper in the servants’ quarters is that the Princess is “cracking up”. The filmmakers apparently agree.

Steering away from the same territory as The Crown, Larraín and Knight don’t fill the film with awkward meals and heated arguments (although there are one of each of those). Prince Charles does some grumbling, but the Queen has hardly any lines and Prince Philip has none: they are closer to menacing waxworks than people. For most of the time, Diana is either talking to her young sons, her trusted personal dresser (Sally Hawkins) or to herself. It’s interesting, this lack of dramatic conflict and discernible plot, but it can leave the film seeming as listless and purposeless as Larraín’s Diana herself. Her favourite occupation is to wander around the estate until she finds something that has an ominous symbolic connection to her, and then make an unconvincing speech about it. Ah, pheasants! So beautiful, yet bred to be killed!

Stewart is such inspired casting that she makes all this eccentric nonsense watchable. She’s been practising Diana’s signature moves for years – dipped head, hunched shoulders – and she certainly knows what it’s like to put up with intrusive tabloid photographers. She also looks suitably fabulous in the many outfits that Diana is required to wear over the long weekend. And unlike Watts’s performance in 2013, hers doesn’t seem distractingly like an impersonation. Mind you, she delivers all her lines in little bursts of hissing whispers, so if you don’t see it with English subtitles, as its first audiences did at the Venice Film Festival, you might not understand more than half of what she says.

The effect is a bit odd, but there are lots of odd things in the film, not least the tone and the pacing, which lurch around like someone who’s had too much after-dinner port. Between Jonny Greenwood’s squalling jazz soundtrack, the hallucinations, and the blush-making sexual confessions, Spencer is a folly that wobbles between the bold and the bad, the disturbingly gothic and the just plain silly. In some scenes, it’s heart-rending in its depiction of Diana’s self-harm and bulimia. In others, it’s almost as risible as the Diana biopic from 2013, and that’s saying something. I didn’t know any more about Diana afterwards than I did beforehand, but I can’t say I didn’t enjoy it. This is a film that echoes The Shining at the start and 2001: A Space Odyssey at the end. The Crown Christmas Special it ain’t.

Sources of information: 

• “The Film Analysis Handbook” by Thomas Caldwell. 
• https://payforwriting.com/writing/creating-review/how-to-write-movie-review
• www.mtsu.edu
• www.sciencedirect.com/science
• Image:   freepik.com
• Poster from the film Apocalypse Now

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Quick Guide on How to Write a Movie Review Essay

What Is a Movie Review

The internet has revolutionized the realm of film criticism. No matter a movie's level of quality, it is always worth analyzing. Despite the growing number of individuals attempting to write about movies, few are successful. Most people do not provide insightful analysis, instead simply state how much they liked or disliked the film.

A movie criticism, usually composed by a professional in film studies, takes a comprehensive look at the film from a historical, social, political, or theoretical standpoint. This is unlike the opinion or suggestion given in a movie review, which is shorter and more concise.

A remarkable aspect of a good film review is that it doesn't just rate the movie but provides explicit views that form the critique's basis. This form of writing, like crafting essays, research papers, and term papers, should be insightful and draw the reader in quickly. It's important to discuss the reputation of the lead actors and directors and to write about what you expected and if they were met. The reviewer must explain a story's development without recalling major plot points and endings. The review must be concise, engaging, and should involve metaphors, specific words, analogies, etc.

Movie Review Purpose

Most film reviews are intended to guide readers in deciding whether to view, rent, or purchase the film. They should provide the necessary information to aid readers in deciding without divulging any fundamental details, such as the storyline or any surprises. This paper is common in schools because the lecturer wants to evaluate the student's ability to think critically and report the event easily for others to understand.

Movie reviews typically present a brief summary of the film's storyline. They provide readers with an overview of the characters, relationships, and scenarios but do not convey the complete narrative. Perusing the review should be different from seeing the movie. Nonetheless, feel free to highlight the essential moments or pivotal points that make the film worthwhile viewing.

Our college essay writing service has put together some advice on composing a movie review essay like a real critic, so let's explore the article further!

How to Write a Movie Review: Movie Review Outline

The structure is key when it comes to the quality of your paper. Don't neglect the power of a good outline, no matter what paper you're writing. Outlines help you stay on track and make sure your paper flows well.

Taking the time to arrange your ideas before starting to write is an effective way to save time further down the line. With a well-structured plan already in place, you won't have to worry about other elements. This will also make the writing process less stressful. Here is a guide on how to organize your movie review outline:

How Do You Start a Movie Review Essay: Introduction

The introductory paragraph is the first obvious step in crafting a movie review essay outline. Here, you want to quickly captivate the reader. Deliver your viewpoint instantly and make it unambiguous. Don't leave the audience wondering whether you enjoyed the film. Tell them right off the bat so you have time to justify your assessment throughout the remainder of the process.

In the introduction movie review should also describe your thesis. Develop the main concept for your essay that you can support using your perceptions of the movie's various aspects. The reader should be able to tell from this statement if you thought the film was fantastic, awful, or simply alright. By including a thesis statement, you may move your analysis beyond the plot synopsis phase into the movie critique category, which is considered a separate creative process.

Crafting Your Essay Movie Review Analysis

According to our research paper service , film analysis is similar to building a case. You're attempting to influence the reader to follow your recommendation to watch or disregard the film. So, you must ensure your essay movie review will be convincing. Giving instances that demonstrate the validity of your personal opinion is the only method to do this. If you find any dialogue in the movie that you think best exemplifies whether the work is strong or not, utilize quotes. This also applies to all of the movie's artistic decisions. But, just because a movie's narrative isn't strong or engaging doesn't indicate the rest of the film is worthless. Carefully highlight how some factors might undermine the movie in your explanation.

The movie's plot is only one component and shouldn't dominate the overall piece. The following are the important aspects to include in your movie review structure:

Cinematography - Cinematography covers much more than simply camera angles. It includes how the picture is lit, how it moves, appears, and what lenses are used. Here you can try the following analysis: 'Warm, gentle colors are used throughout the film, combined with soothing whites and grays, to simultaneously create and gradually tear away the characters' romantic sentiments for one another. There is a painting-like quality to each image.'

Editing - The editing is arguably the absolute star of what creates a good movie review example. It affects both the duration and the flow of a movie. Without effective editing, there would be uncomfortable gaps between pictures and many errors.

Costuming - The clothing the characters wear is called a costume, but there are a number of things to consider while evaluating movie costumes. You should be able to decide if the outfits suit the characters and the movie's atmosphere.

Casting and Acting - Finding the ideal performers to bring characters to life is the goal of casting. This sometimes entails seeing performers portray both familiar personas and figures who are entirely at odds with who they are. Casting, therefore, involves more than just finding talented performers. You can assess the acting in the following way: 'Even though he excels while on the go, his stoic behaviorism causes him to fall short of his co-star during calm scenes where he keeps a blank look on his face.'

Once you have finished analyzing the acting, directing, cinematography, setting, etc., wrap up with concise, stimulating wording to sustain readers' attention. Don't forget to provide a few examples to support your statements about the film.

Concluding Your Essay Movie Review

Finalize your review by coming full circle. Close the review by returning to your introductory fact or thesis. Give your readers a refresher on the movie's most intriguing aspects. It's important to remember that before choosing a movie, viewers check reviews. Finish with a statement indicating whether it is worthwhile for them to view. Be specific about who this movie will be more fascinating to and why in your suggestions. Remember that your ending is your last shot at influencing your audience, so use it wisely.

No matter the kind of movie review you have to complete, our professional specialists are willing to help you. Directly forward your needs to our research paper service and get it done quickly.

Need Help With MOVIE REVIEW WRITING?

No matter what type of movie review you want, our qualified specialists are ready to assist you.

Short Movie Review Form

If you are currently working on a new or old movie review, reading our suggestions should be sufficient to help you earn an A. So what if you'll be writing many reviews in the future? In this situation, we advise you to develop a uniform movie review template, which will enable you to save time and complete your upcoming projects successfully.

So, how to write a movie review template, you may ask? Well, our essay helper prepared a simple yet great movie review template you may use as a foundation for your own writing if you need some help getting started:

Example Papers

Once you know how to review a movie and learn the most valuable tips to handle this assignment, it is time to look at some movie review examples to get you on the right track.

Check out the following pieces to see which of these movie review essay examples you might want to keep at hand when working on your own assignment:

Helpful Tips on Writing Movie Reviews

Here are some extra helpful tips to keep in mind when unsure how to write a movie review essay:

• Add Your Own Personal Feel to Your Movie Critique - You might not have much spare time for your pastime of reviewing. You won't be able to write a movie review, though, if you just wing it without reading what others have said. Make a note of the things that intrigued you, alarmed you, made you uncomfortable, or caused you to pause and consider something, and then use that list as the basis for your research.
• Develop a Distinctive Writing Style - Have an idol—it's good for you. You must be careful not to just paraphrase and duplicate what they say without adding your own original viewpoint. Instead, in order to stand out from the throng, you must discover your own voice. When writing movie reviews, you should also have a distinct writing style.
• Include Extensive Information -Mention the film's photographer, special effects designer, and director. Your review might be significantly impacted by this. Then you may list all the memorable movie moments that also stuck with you.
• Voice Your Views and Back Up Your Criticism - Give your own assessment of the film. Make sure you have evidence to support your criticisms. Use the movie's details that most shocked or humiliated you. Review genuine information rather than merely expressing your opinions without supporting details.

Final Thoughts

Composing a good movie review essay sample is easy if you follow this article's main steps and techniques. Furthermore, we strongly believe that this guide will assist you in achieving remarkable outcomes and ease your writing process. The staff at EssayPro is always available to provide a helping hand if you need a little additional push with movie review examples or even if it's simply coming up with a catchy essay title .

Order an essay and await excellent results! Contact our expert writers and ask them to ' write my essay for me ' – and they will ensure your academic success!

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FAQs on Writing an Essay Movie Review

Here are the most frequently asked questions on how to write a movie review. We provided extra details on movie analysis to simplify writing film reviews.

What are the 6 Important Things to Include in a Film Review?

How long should a movie review be, what are the 5 c's in film, related articles.

How to Write a Movie Review in 7 Steps

Table of contents

• 1 What Is a Review of a Movie?
• 2 Before You Start a Movie Review
• 3.1 Content
• 4.0.1 Introduction
• 4.0.2 Plot Summary
• 4.0.3 Analysis and Critique
• 4.0.4 Personal Opinion
• 4.0.5 Conclusion
• 5.1 Hook the reader
• 5.2 Portray a unique angle
• 5.3 Mention directors, cinematographers, and special effects
• 5.4 Add personal insights
• 5.5 Conclusive thoughts
• 5.6 Take a look as a pro-filmmaker
• 5.7 Adapt to your audience
• 6 Movie Review Examples
• 7 Mastering the Art of Movie Reviews: Final Thoughts

Crafting a nuanced movie review can be both an exhilarating and formidable challenge. For those grappling with the complexities of this art, rest assured ─ there’s a solution that transcends mere assistance. Enter the blog of the PapersOwl service for individuals seeking expert guidance. Our team of writers boasts extensive experience developing academic texts, ensuring that your movie reviews reflect sophistication.

Recognizing the pivotal role of movie review essays in fostering these discussions, we aim to empower you with valuable insights on how to write a movie review.

• The purpose of a good movie review;
• Main components and features of movie review;
• A step-by-step guide to writing an expert movie review.

Let’s dive into the details and unlock the secrets to movie review writing like a pro.

What Is a Review of a Movie?

A movie review essay is a thoughtful and critical analysis of a film, aiming to provide readers with insights into various aspects of the cinematic experience. It goes beyond merely recounting the plot, delving into the film’s themes, characters, cinematography, and overall impact.

When you write a film review, you encourage critical thinking and contribute to the ongoing discourse surrounding the diverse world of cinema. Beyond narrating the storyline, it analyzes elements like direction, acting, cinematography, and screenplay, aiming to capture the essence of the cinematic experience.

Before You Start a Movie Review

Before embarking on your movie review journey, immerse yourself in the film’s intricacies. We advise you to watch it at least once, ideally twice, to truly appreciate its depth. Indeed, multiple viewings unveil subtle details, providing a nuanced understanding of cinematic nuances. During these screenings, strategically take notes, focusing not only on plot intricacies, character nuances, and directorial choices but also on the impact of the musical score.

Moreover, extend your preparation beyond viewing. Research the movie and gather background information about the film, its director, cast, and production. This step adds depth to your review, allowing you to contextualize your observations and enrich your analysis. By combining thoughtful viewing with thorough research, you set the stage for a movie review that reflects your insights and contributes meaningfully to the broader cinematic conversation.

What Are the Main Components of a Movie Review?

When delving into the art of movie reviewing, a well-structured approach enhances the impact of your film analysis essay. Here’s a breakdown of key elements of a movie review outline to consider, ensuring your review is valuable and reader-friendly.

• Main Subject: Cover the central themes and messages conveyed by the film.
• Characters and Setting: Contextualize the film by exploring characters, their relationships, and the setting.
• Plot Analysis: Dive into the plot intricacies, discussing its strengths, weaknesses, and central message.

Evaluate the formal and aesthetic film aspects, including sound mixing, cinematography, script, lighting, costume/make-up, and editing. Articulate your thoughts on these components to write a good film review, providing an analysis of how they contribute to the overall cinematic experience.

By meticulously incorporating these elements into your reviews of movies, you not only provide a comprehensive analysis but also offer readers valuable insights into the film’s nuances. This structured and informative approach ensures that your review is expertly crafted and a valuable resource for those seeking a nuanced understanding of the cinematic work.

Structuring Your Review

Before writing a movie review, it’s recommended to share the notes and impressions you gathered during your viewing experience to present a concise, informative, and meaningful overview. Thus, you can highlight aspects you appreciated and structure your essay notes , providing reasons and examples. Equally, address elements that fell short and illustrate your points.

Introduction

In the opening passage, begin your review with an engaging text, revealing vital details like the movie’s title, director, and genre. This initial step must offer readers a tantalizing glimpse into the cinematic realm they are about to explore.

Plot Summary

Moving on to the plot summary, skillfully avoid spoilers in your student movie review format. Remember that the movie review structure guides readers through key narrative points, ensuring a comprehensive overview that intrigues without divulging critical plot twists.

Analysis and Critique

Next, delve into the film’s core components in your movie review essay. Here, you should evaluate acting performances, directing choices, cinematography, script quality, pacing, and the soundtrack. Thus, you can write a film critique that explores its strengths and weaknesses.

Personal Opinion

Transitioning to your personal opinion, share your interpretation and emotional response to the movie. For example, inject a unique perspective that forges a connection with readers. Additionally, you can write a review on a movie and how the film resonated with you, adding a personal touch to your review.

To conclude your professional movie reviews, summarize key thoughts and deliver a final evaluation. Here, you can reinforce your overall perspective and recommendation, leaving readers with a clear understanding of your stance. Indeed, a well-crafted conclusion ensures your review resonates as a valuable and comprehensive critique. Besides, utilize transition words for enhanced readability and fluidity throughout your review.

Top 7 Writing Tips for an Effective Review

Here are essential tips to ensure you write about movies reviews that are captivating for your readers:

Hook the reader

Write a movie report with an intriguing opening that instantly captivates readers. Create curiosity that will immediately hook the audience through a compelling quote, vivid imagery, or an enticing narrative snippet.

Portray a unique angle

Set your review apart when writing a film review by embracing a distinctive angle or perspective. Explore facets of the film that have yet to be extensively discussed. Thus, uncover hidden layers, unique themes, or overlooked details to give readers fresh insights, making your movie critique stand out in the cinematic discourse.

Mention directors, cinematographers, and special effects

To write a review essay on a movie, incorporate vital behind-the-scenes contributors into your review, including directors, cinematographers, and special effects teams. This way, you acknowledge their roles in shaping the film’s visual allure and narrative impact, underscoring their significance in translating the cinematic vision into a captivating reality.

Add personal insights

Analyzing what makes a good movie review, you should connect the film to broader themes or personal experiences, enhancing reader engagement. Draw parallels to universal concepts to deepen the emotional resonance, making the narrative more relatable and impactful.

Conclusive thoughts

End your film review writing with a potent summary based on movie review criteria, encapsulating your overall opinion. Provide a decisive recommendation, leaving readers with a compelling takeaway that solidifies your stance on the film description.

Take a look as a pro-filmmaker

Assess the film through the eyes of a professional filmmaker to write a film analysis professionally, exploring the five Cs of cinematography: composition, camera movement, cutting, close-ups, and continuity. Consequently, analyze how these elements contribute to the film’s visual narrative, enriching your critique with an expert perspective.

Adapt to your audience

Customize your language and style to resonate with your audience, whether casual moviegoers or cinema aficionados. Write a good movie review and tailor your tone for accessibility, ensuring your review is engaging and relevant to your intended readership.

Movie Review Examples

Elevate your understanding of how to critique a movie by immersing yourself in the well-crafted reviews found in the arts and entertainment sections of esteemed publications such as The New York Times, The Washington Post, The Guardian, The New Yorker, The Atlantic, and Rolling Stone . These outlets house reviews composed by movie review writers renowned for their expertise.

Pay attention to the masterful use of language, the depth of analysis, and the delicate balance between objectivity and subjectivity. Additionally, it examines how critics seamlessly weave personal insights into a broader cultural context in writing movie reviews, enhancing the richness of their assessments.

Mastering the Art of Movie Reviews: Final Thoughts

Today, we explored the intricacies of crafting compelling critiques. Assume a captivating introduction, delve into the essential elements of the review, and conclude with impactful insights to write a film review essay. Importantly, balance active and passive voice for academic writing prowess. Embrace these insights to elevate critical review of movies, captivate readers with your nuanced and expertly crafted analyses, and write an essay for you !

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How to write a movie review [Updated 2023]

Writing a movie review is a great way to practice critical analysis skills. In this post, we explore what a movie review is, how to start a film review, and steps for writing and revising it.

What is a movie review?

A movie review is a concise evaluation of a film’s content and formal elements (cinematography, sound, lighting, etc.). Also known as a film review, a movie review considers not just what a film means, but how it means. Essentially, when you write a film review, you are conducting a critical analysis or close reading of a movie.

How to write a movie review

To write a successful review about a movie, you need to evaluate a film’s content, as well as its form. In this section, we break down these two components.

A film’s content includes its plot (what it’s about), characters, and setting. You’ll need to determine the main plot points of the film and how the film’s story works overall.

Are there parts that don’t make sense? Are certain characters more important than others? What is the relationship between the movie’s plot and its setting? A discussion of a film’s content provides good context for an analysis of its form.

Form refers to all of the aesthetic and/or formal elements that make a story into a movie. You can break down form into several categories:

• Cinematography : This element comprises all aspects of the movie that derive from the way a camera moves and works. You’ll need to pay attention to elements like camera angles, distances between the camera and the subject, and types of shots (i.e. close-up, aerial, etc.).
• Lighting : Films use lighting in various ways to communicate certain effects. For instance, noir films tend to utilize chiaroscuro lighting (deep contrasts between light and dark) to express a sense of secrecy or foreboding.
• Sound : The way a film uses sound can vary considerably. Most movies have a soundtrack, sometimes with music composed specifically for the film. Some films play around with ambient sounds or use silence at key points to signify important moments. What is the relation of sound to the image in specific scenes or sequences? Do sounds link images? Does it ever become more important than the image?
• Editing : The movies we watch online or in theaters have been heavily edited in order to achieve a particular flow. When you are preparing to write a movie review, pay close attention to elements like the length of shots, transitions between scenes, or any other items that were finalized after filming.
• Costumes, Props, and Sets : Are the costumes and props believable in relation to the film’s content and setting? Are costumes particularly elaborate or understated?

The important thing to remember when you are analyzing the formal elements of a movie is that every image, sound, movement, and object has meaning and has been planned. Your review needs to take into consideration how these elements work together with the film’s storyline to create a whole experience.

Once you’ve considered both the content and form of the movie that you’re reviewing, you can begin to evaluate the film as a whole. Is it a successful movie? Would you recommend it? Why or why not?

Step-by-step review writing tips

1. watch the movie.

The first time that you watch the movie, look for overarching themes or patterns, and establish what the film is primarily about. Take note of the main characters, as well as the setting.

2. Watch the movie again and take notes

Next, watch the movie again and take notes as you are doing so, keeping in mind the formal aspects discussed above. Write down anything that seems significant.

3. Evaluate the film’s form and content

Using the categories described above, and any handouts or guides provided by your instructor, evaluate the film’s formal elements along with its content. Are there elements of the movie that strike you as unfamiliar or perplexing? Are there elements that are repeated to emphasize a point or perception?

4. Write your review

A good movie review will contain:

• an introductory paragraph that tells the reader what movie you’re reviewing
• a paragraph that summarizes the movie
• several body paragraphs that explore significant formal elements and how they relate to the content
• a concluding paragraph that discusses your overall reaction to the film and whether or not you would recommend it to others

5. Create citations

You’ll need cite the film and any secondary sources that you consulted while writing. Use BibGuru’s citation generator to instantly create accurate citations for movies, as well as articles, books, and websites.

You may also want to consult a guide on how to cite a film in MLA or another major citation style .

6. Revise and proofread

Once you’ve written your review, you should set aside some time to revise and proofread it before you turn it in.

Movie review checklist

You can use this checklist to ensure that you’ve considered all of the formal elements, as well as the content, of the film that you’re reviewing:

🔲 Cinematography (camera moves and types of shots)

🔲 Lighting (natural vs. artificial light, contrasts between light and dark)

🔲 Sound (soundtrack, sound vs. silence, loud vs. soft sounds)

🔲 Editing (length of shots, transitions between scenes)

🔲 Costumes, props, and sets (believable vs. staged)

🔲 Content (plot, characters, setting)

Frequently Asked Questions about how to write a review about a movie

A movie review should contain a brief summary of the film, several paragraphs of analysis that focus on form and content, and a concluding paragraph that sums up your reaction.

Before you write anything, you need to watch the film at least once. Take notes as you’re watching and pay attention to formal elements and patterns. Then, write your review. The final step is to revise your work before you turn it in.

The tone for a movie review should be critical, yet objective. The goal of most reviews is to persuade a reader to either see a film or not.

The best film reviews balance plot summary with critical analysis of significant formal elements. A reader should be able to decide if she wants to see the film after reading the review.

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For students and teachers.

How To Write A Movie Review?

So, you've been asked to write a movie review. How do you approach this assignment? Writing a movie review is a common task students of different academic levels get. You may face this task both in high school and when you are already in college.

In a nutshell, when unsure how to write a movie review, your main task is to reflect your opinions of the piece and evaluate it according to certain criteria. You are expected to define, analyze, and assess the core elements and significant details. These may be twists in the plot, characters, the central message, etc.

Sounds pretty easy, right? Wrong guess! Although it may seem like a generally simple task, writing a movie critique goes much deeper than simply recounting the events you see on the screen and formulating your opinion.

It takes time, attention to detail, and solid organization to get things right. But do not get desperate just yet! If you are interested in writing a real analysis essay , you've come to the right place!

In this article, ourservice expert writers will guide you through the process of writing a top-notch piece worthy of the highest grade.

The Purpose of a Movie Review

In writing any type of academic assignment, it is vital to keep the task's purpose in mind in order to get a high grade. Thus, before we go on and discuss in detail how to review a movie, let's clarify the core purpose of this assignment.

In a nutshell, the main purpose of this task is to inform the audience about a particular movie and its core ideas. At the same time, this task leaves you space to express your own opinion about the piece you are writing about.

However, the key thing is not to get too much into discussing your own thoughts. One should also retain an objective and unbiased approach. If you can combine them all, you'll write a great review!

While working on your review, keep in mind that you are supposed to introduce a particular film to your readers. Always assume they haven't heard of it or seen it before. Such an approach will make it much easier to discuss and analyze the events taking place in the movie. You should also conduct character analysis and reflect on the core ideas.

The last thing worth keeping in mind is that the ultimate goal of your review is to help readers make an objective decision on whether they want to see a particular movie or whether they'd like it.

The main reason why teachers and professors assign students this type of writing task is to assess their critical thinking skills. Lecturers want to see your ability to analyze a plot and characters, define main ideas, report events, and give an objective assessment of the piece based on all these characteristics. At the same time, they want to see whether you can cope with all these subtasks in a logical, easy-to-understand, cohesive, and engaging manner.

Movie Review Format

The format of your movie review may vary depending on your lecturer's specific demands. Thus, it is vital that you check the provided requirements and guidelines prior to writing.

Typically, this type of paper is fairly short - about 600 to 1200 words. The structure of a standard movie report consists of an introduction, a summary in question, an analysis, and a conclusion.

When wondering how to write a movie title in an essay , it is important to use proper formatting to ensure clarity and adherence to academic standards. Typically, movie titles should be italicized or placed in quotation marks. For example, 'The Shawshank Redemption' or The Shawshank Redemption.

As for the contents of your piece, it should provide a general summary of the narrative part (the plot.) Then, you should highlight the specific elements that can be divided into two categories:

• Formal techniques - cinematography, genre, editing, diegetic and non-diegetic sound, lighting, mise-en-scene, etc.
• Thematic content - the content that resonates with common issues like gender, history, environment, race, etc.

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Main Aspects to Consider in Your Movie Review Essay

To start a movie review paper, you should watch the piece as many times as possible and take notes of all your impressions. You can even collect verdicts from fellow students or friends to have opinions from more than one source. Additionally, you will have to take notes on various significant elements and background details.

Here are some of the main questions to help you write the critique faster and not miss out on the important details:

• Where is the film set? - Knowing this will give the reader a clear picture and visual imagery of the piece and save you time, as you will not have to describe it later.
• Is it a sequel, and what are the origins of the movie? - Such knowledge will benefit the readers if they are not yet familiar with the series? This will help them gain a better understanding of the piece.
• Does the movie fall into any genre? - Establishing this will help you compare it to other movies later on.
• Is it created by a famous director? - This will give out more background information that you can use to make comparisons in the review.
• Do you know any interesting or significant facts about it? - This can help you generate further interest in the readers and also give you extra points to cover in a review.
• Is the plot riveting? Are there any major twists? - Describing the most gripping elements without spoiling the piece for the reader will help you get the highest grade.
• Are the characters well-developed or believable? - If you can present a thorough analysis of the main characters or actors, this will make your review more engaging.
• Who is the target audience, and who does the movie appeal to? - This will help you analyze the piece better and also gain more understanding of who will appreciate a certain movie.

Movie Review Example

After mastering the art of reviewing and picking up valuable tips for tackling this assignment, the next step is to explore a few movie review examples to steer you in the right direction.

"The Shape of Water"

Introduction: Guillermo del Toro's "The Shape of Water" is a visually enchanting and emotionally resonant masterpiece that seamlessly blends fantasy and reality. Released in 2017, this film offers a captivating narrative, stunning visuals, and exceptional performances that leave an indelible mark on the viewer.

Plot dynamics: Set against the backdrop of the Cold War era in the early 1960s, the film follows Elisa Esposito, portrayed by Sally Hawkins, a mute and isolated woman who works as a cleaning lady in a high-security government laboratory. When she discovers an amphibious creature (Doug Jones) being held captive for experimentation, a unique and heartfelt connection forms between them.

Cinematographic techniques: Del Toro's masterful use of color and composition creates a visual feast for the audience. The underwater sequences, in particular, are a testament to the film's technical brilliance. Cinematographer Dan Laustsen brings the aquatic world to life with a mesmerizing palette, enhancing the film's dreamlike quality.

Character development: Sally Hawkins delivers a breathtaking performance as Elisa, conveying a depth of emotion without uttering a single word. The character development is nuanced, with each member of the ensemble cast, including Octavia Spencer and Michael Shannon, contributing to the richness of the narrative.

Thematic depth: "The Shape of Water" explores themes of love, acceptance, and the triumph of the human spirit. The film cleverly uses the supernatural element to comment on societal norms and the power dynamics of the time, creating a narrative that is both relevant and timeless.

Directorial style : Guillermo del Toro's directorial style shines through in every frame. His penchant for fairy-tale storytelling is evident, blending romance, suspense, and elements of the supernatural seamlessly. The attention to detail in the set design and the use of practical effects contribute to the film's immersive and otherworldly atmosphere.

Conclusion: In conclusion, "The Shape of Water" is a cinematic gem that transcends genres. Guillermo del Toro has crafted a film that is as emotionally powerful as it is visually stunning. With a compelling narrative, exceptional performances, and a distinct directorial vision, "The Shape of Water" stands out as a testament to the artistry of storytelling in cinema. This is not merely a film; it's a lyrical and transformative experience that lingers in the imagination long after the credits roll.

Movie Review Outline

As was already mentioned, a typical movie review structure consists of five elements. Now, let's look at each section of this paper in detail.

Introduction

The introduction is the first thing your readers will go through. Thus, it is important to make it as catchy as possible to engage your audience from the very first lines.

In the first section of your movie review essay outline, provide some general information about the movie you are going to review. Make sure you mention the title, director, year, main actors, and screenwriter.

Apart from the background information, your introduction should begin to offer an evaluation of the movie. Therefore, it may be longer than one paragraph. This type of essay does not need to include a thesis statement as it is. However, it should contain the central idea of the review.

Plot Summary

This part of the essay is aimed to give your readers a general sense of what a particular movie is about. Writing this section, you should assume that the audience may not have seen the movie just yet. 

Thus, your goal is to provide them with a plot summary. At the same time, be sure to keep it concise and not delve into too many specific details. Otherwise, you may spoil their experience from viewing the film.

Description

While the previous section shares the summary of the main events, the description part should focus on your personal cinematic experience. 

This is where you should include your own thoughts and opinions on things like acting, cinematography, music, special effects, costumes, main characters, and the author's style. Also, be sure to specify your overall impression on how the movie feels, sounds, and looks like.

This is the section where you will be discussing and evaluating how well a particular movie utilizes thematic content and formal techniques. Your task is to highlight these techniques and analyze how their use affects the overall impression the film makes.

The final part of your review essay should remind the readers of your overall opinion of the movie. At this point, you can also offer some recommendations. 

You can state whether you think a particular movie is or is not worth seeing. However, regardless of your statement, be sure to back it up, explaining the reasons why you do or don't recommend watching.

How to Write a Film Review: A Step-By-Step Guide

Follow this guide to write a flawless movie review:

Step 1: Pick a Movie

Unless you are assigned to review a specific one, your first step is choosing what artwork exactly you want to discuss. Make sure you pick a movie that is interesting for you and of a genre that you are fairly familiar with.

Step 2: Watch It Multiple Times

Before you move on to the writing process, be sure to note your reaction and impression right after you watched the movie. Write down whether you liked it or not, and specify what exactly you did or didn't like.

Step 3: Write Down Your Overall Impression

Step 4: make an outline.

Making a movie review outline will help you ensure a logical flow of your essay and will make the writing process much simpler. To create a detailed outline for an essay , you can check standard movie review elements discussed earlier in this article.

Step 5: Come Up With a Catchy Title

The title of your review should be intriguing and attention-grabbing. It is a good idea to play off a title or a quote from it.

Step 6: Write Your Movie Review Essay

When writing your essay, carefully follow the outline. Make sure your it follows the right structure and contains the following points:

• General info about the movie;
• A brief summary;
• Analysis and evaluation of the main characters;
• Make sure to compare it with others in the same genre or those crafted by the same director. Don't overlook the importance of using APA citation format for accurate referencing.
• Explanation and assessment of any conventional styles from the director;
• Analysis of the actors, their performance, and what they bring to the motion picture;
• Assessment of the formal techniques, for example, the set and lighting;
• Analysis of the use of costumes;
• Assessment of artistic visual references, music, sound, etc.; 
• The final verdict on whether you recommend a particular movie or not and why.

Step 7: Proofread and Edit

Finally, before you hand in your review, be sure to set it aside for a few days and then proofread it with a fresh eye.

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Key Elements You Must Consider When Writing Your Movie Review

When you analyze a flick, it's a bit like putting together an. Let's dive into some important aspects to think about:

Plot dynamics: Explore the intricacies of the storyline, identifying key summary points and their impact on the overall narrative flow.

Cinematographic techniques: Examine the movie's visual elements, including cinematography, lighting, and editing, to gauge their contribution to the storytelling.

Character development: Assess how characters evolve throughout the movie, delving into their motivations, relationships, and overall significance.

Thematic depth: Uncover the underlying themes addressing broader issues such as society, culture, or human nature, and evaluate how effectively they are conveyed.

Directorial style: Analyze the director's unique approach, considering their use of symbolism, mise-en-scène, and other stylistic choices that shape the film's identity.

Writing a Film Review: Do's and Don'ts

Hopefully, this guide will help you cope with writing a top-notch movie review quickly and easily. Now, let's recall the main tips and tricks and define what you should and should not do while writing an awesome movie review.

• Read the requirements and guidelines provided by your lecturer carefully;
• Watch a flick you are going to review multiple times;
• Take notes on everything that has significance or value for your future review;
• Check out some examples before you start writing yours;
• Figure out the genre of the piece;
• Compare and contrast a particular piece to others produced by the same director or examples of a given genre;
• Include the general info (such as a title, date, screenwriter, director, and so on) at the beginning of your movie review essay;
• Share your personal opinions, experiences, and thoughts;
• Provide an overall summary of the plot;
• Share your cinematic experience from watching;
• Analyze and evaluate the use of various elements in the movie;
• Make your review logical, cohesive, and engaging;
• Make a final statement on whether you do or don't recommend watching a particular film and explain why.

Don'ts

• Don't start writing before you have read and understood the given requirements;
• Don't review a movie you haven't seen it till the end;
• Don't review something you are not personally interested in;
• Don't focus your review solely on the personal thoughts or unbiased assessment;
• Don't give out too many significant details concerning the plot in order not to spoil others' experience;
• Don't hesitate to state your opinion as it is, but do not be too harsh;
• Don't be afraid to ask for the help of professional writers if you have no time to finish the task on time or are not sure how to do it well.

What is a Movie Review?

How to write a good movie review, how to start a movie review, what to include in a movie review, our latest blog posts.

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How to Write a Movie Review: A Step-by-Step Guide with Examples

• backlinkworks
• Writing Articles & Reviews
• October 3, 2023

Introduction

Watching movies is a popular pastime for many individuals. While some enjoy being entertained by the latest releases, others find satisfaction in analyzing and critiquing films. If you fall into the latter category, then writing a movie review can be a rewarding activity. Whether you aspire to become a professional film critic or simply want to share your opinion with others, this step-by-step guide will help you craft a compelling and engaging movie review.

Step 1: Watch the Movie

Before you can write a movie review, you need to watch the film attentively. Take notes while watching, paying attention to the plot, characters, cinematography, acting, and any other elements that stand out. Understanding the movie in its entirety is crucial to providing an informed perspective in your review.

Step 2: Gather Your Thoughts

After watching the film, take some time to gather your thoughts and reflect on your overall impressions. Did you enjoy the movie? What were its strengths and weaknesses? Consider the movie’s themes, messages, and intended audience. Jot down key points to use as the foundation of your review.

Step 3: Start with a Strong Introduction

The introduction sets the tone for your movie review. Begin with a captivating hook that grabs the reader’s attention and provides a brief overview of the film. Offer some context, such as the genre or director, and any interesting background information that adds value to the review. Make sure to state your overall opinion clearly and concisely.

Step 4: Analyze the Plot and Storyline

Provide a detailed analysis of the movie’s plot and storyline. Discuss the main narrative, subplots, and any twists or surprises. Evaluate the pacing, coherence, and depth of the story. Highlight any standout moments or memorable scenes that contribute to the overall narrative experience.

Step 5: Evaluate the Acting and Characters

An important aspect of any movie review is assessing the acting performances and the development of the characters. Discuss the actors’ portrayals, their chemistry, and whether they effectively brought their characters to life. Analyze the characters’ depth, growth, and believability. Give examples to support your claims.

Step 6: Critique the Cinematography and Visuals

The cinematography and visual elements greatly impact a movie’s overall appeal. Evaluate the camera angles, lighting, set design, costumes, and any special effects used. Explain how these choices contribute to the storytelling and enhance the viewer’s experience.

Step 7: Assess the Sound and Music

The sound design and music play a vital role in creating the right atmosphere for a film. Analyze the sound effects, soundtrack, and any background music utilized. Discuss how the audio elements complemented the visuals and enhanced the emotional impact of key scenes.

Step 8: Highlight the Strengths and Weaknesses

In this section, discuss the movie’s strengths and weaknesses. Offer constructive criticism where necessary, but also acknowledge the film’s positive aspects. Be specific and provide examples to support your claims, giving readers a well-rounded perspective of the overall quality of the movie.

Step 9: Conclusion

The conclusion should summarize your main points and provide a final assessment of the film. Reiterate your overall opinion and encourage readers to watch or avoid the movie based on your review. End with a thought-provoking statement or a call-to-action to engage your audience further.

Frequently Asked Questions (FAQs)

1. how long should a movie review be.

A movie review can vary in length, but a typical review ranges from 500 to 1000 words. However, if you feel the need to provide a more in-depth analysis, IT can extend beyond the usual word count.

2. Should I include spoilers in my review?

IT is best to avoid spoilers, as they can ruin the viewing experience for those who haven’t seen the film. If you must discuss specific plot details, clearly indicate spoiler warnings and use HTML tags to hide text, ensuring readers have the option to read or skip the spoilers.

3. How do I maintain objectivity in my review?

While a movie review reflects your personal opinion, try to maintain objectivity by offering balanced arguments and supporting your statements with evidence from the film. Acknowledge that different viewers may have different tastes and perspectives.

4. Is IT necessary to include a rating in my review?

Including a rating is not essential, but IT can provide a quick summary of your overall opinion. You can use a numerical scale, stars, or any other rating system you find suitable. Just ensure you explain the reasoning behind your rating within the body of the review.

5. How can I make my review stand out?

To make your review stand out, write in a clear and engaging style. Incorporate your unique voice and use captivating language to draw readers in. Including relevant screenshots from the movie or embedding a trailer can also enhance the overall appeal of your review.

writing a movie review provides an opportunity to express your thoughts and opinions about a film while helping others make informed decisions about their movie choices. By following this step-by-step guide, you can craft a well-written and insightful review that captures the essence of the movie. Remember to watch the film attentively, gather your thoughts, and provide a balanced assessment of its various elements. With practice, you’ll refine your skills as a movie reviewer and contribute to the world of film criticism.

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Step By Step Guide On Writing Powerfully Persuasive Film Review Essay

By Film Threat Staff | February 8, 2021

We all have to write a compelling film review, sooner or later. Someone deals with the task quickly and easily. In turn, others can face severe difficulties and spend hours writing a review, which usually ends up being low-quality. Is there a solution then? Why can one handle the task without any problem while others have no idea what to write? Any problem has a solution, and writing a movie review is not an exception. With the right approach and follow of this step-by-step guide, you will likely compose a powerful and persuasive movie review shortly.

Learning Background

Before writing the review, you have to learn more about it. Reading the history of making the movie, the locations, the film director, and primary and secondary actors is a must. When you know a bit of a movie, you will find it easier to write the entire paper. Plus, you will spend less time drafting the review and polishing it afterward. This strategy has been proven for years by this paper writing service . The company confirms that learning background is vital and efficient, as it helps to capture concealed features of the given film while watching it. That is why every review on this academic agency is positive, making the company the most credible in the market.

Watching A Movie

If you have watched the movie and know what is going on there, you can skip this step or at least skim the film to recall the plot. Conversely, if you haven’t watched, make sure to do that. You don’t have to note down anything at this stage. Feel yourself a regular consumer who came to the cinema on Friday night to have a rest and let their mind get lost.  

When watching the movie, simply follow the plot and get familiar with how it evolves. Besides, you can think of general impressions after watching it. Evaluating primary attributes that every person would assess—cinematography, tone, music and sound, acting—is a nice thing to do to help you craft a draft.  

Drafting The Review

Another crucial step is drafting. Drafting helps you create a rough version of your paper, modify it, and polish it to shine in the long run. Since you know some background information—such as the title of the film, a release year, director’s name, lead actors, and genre—and watched the film, you can start writing the draft.  

Draft the review based on your previous knowledge. Make sure to create a coherent piece, writing the paper according to the structure. Usually, it is an introduction, the main part, and the conclusion. When writing an introduction, make sure to add an opening sentence. It aims to spark the reader’s attention and make them follow your paper. Some quotes related to the movie will always do the job. Then goes a thesis statement, with the main opinion concerning the movie.  

The body part reveals the plot (however, without delving into details) and helps the audience understand the movie’s backbone. Finally, the conclusion restates the thesis and wraps up the review’s content. When drafting the review, mind your word count. Every assignment has a word limit, exceeding which is undesirable and will result in a low grade. So, if you have to write a 5 page essay , ensure making your draft twice less. You will fill another half after re-watching the movie.

When you write the draft, it is time to become a proficient movie critic and immerse yourself in the movie itself, analyzing it in-depth. For that reason, you have to put the draft aside, take a clean sheet of paper, and watch the movie the second time.

Re-Watching The Movie  

You have to scrutinize the movie from a technical part when approaching it again. There are six basic elements every film critic pays close attention to. Let’s look at them:

The film reflects the director’s mindset and viewpoint. Every director has exclusive signs they follow when making films. Analyze and highlight the points you liked and disliked. If you have watched other films by the same director, how can you compare them?

• Cinematography

Can you see any technique that was used in the film? Was it the Dutch angle, bird’s eye shot, close up shot? What were the main elements to create a proper setting? Did you like them? Finally, what was the movie’s tone?

When watching, consider analyzing how scenes switched. Were they awkwardly cut, or was the movie smooth-running? Did the movie have many cuts or scenes that were relatively long and coherent? Finally, what were the effects? Did they fit the plot and were realistic?

Check the script. Was it informative and full of meaningful conversations? Was the entire plot outside the box or tedious? Did it have semantic load? In other words, can readers learn something after watching it?  

• Costume Design

Did the clothing pertain to every scene? Did they help the viewer dive into the movie, or they somewhat distracted them?

Was it right? Did it work in general? Sound is helpful to create suspense or amusement. So make sure to add some words about sound.

Once you re-watch the movie and analyze all these components, write the paper, adding examples from the film.  

Editing, Proofreading, Submitting

Ensure dedicating some time to editing the review and making it error-free. Employ useful tools, such as Grammarly and Hemingway, to perfect the essay. You can ask your friends to proofread the paper before submitting it. Once it is fine, you are ready to send or publish it.

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You helped me so much as a writer’s conference newbie with the same advice you just wrote. And when I was a college journalism major, our prof told us the same for newspaper writing. Thanks!

Thanks for these really good tips for writing essays. If you need more information on how to write a perfect essay you can find some advice on this article, click here . I hope it can be useful.

Great! To this article, you can add only trends in writing essay in 2021. Write with emotions and enthusiasm 🙂

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How To Write a Good Movie Review

Review paper writing

The movie review writing is a common task for students. This assignment can significantly improve a lot of important skills. Writing movie reviews requires attention to detail and the ability to highlight the main idea of a film and correctly express your thoughts. The task has a positive effect on analytical and critical thinking, formulation of the opinion, and, of course, writing skills.

Despite the fact that the film review is a time-consuming task, it remains one of the most interesting assignments for the majority of students. Additionally, if you know the basics of the movie review writing, the task will become much easier to cope with.  

What Is a Movie Review?

When it comes to the exact film review definition, it can be formulated like this – a critical assessment of the movie written in a specific format.

Initially, a movie review was a genre of writing in professional areas like journalism and art criticism. Today, the movie review writing and sharing are available for everyone in the form of comments since any person can watch the film and immediately communicate their impressions about it. Of course, this type of reviews is not created according to any standards and differs greatly from a professionally written critique.

Consequently, the complex movie reviews based on the art criticism principles are, for sure, more attractive and informative for readers than a comment left on the site. The classic movie review is characterized by a complex overview of the film, which should include a constructive analysis of the plot, cast, genre specifics, costumes, and special effects; any subjectivity should be avoided in this type of assignment.

What Is the Purpose of a Movie Review?

The purpose of the movie review essay is to give the objective assessment of the pros and cons of the film. There are some goals you need to reach while writing a movie review paper:

• give the brief plot retelling,
• focus on the work of actors, director, operators, etc.,
• share your general impression about the movie based on the examples,
• specify who might find this film interesting.

It is important to remember that the movie review should not be a list of all plot events but a complex analysis of different aspects of a film.

Basic Steps of Writing a Movie Review

Any task seems to be complicated when you do not know how to start working on it. Though, having a step-by-step guide can simplify the process of writing a film review.

1. Choose and Watch a Film

If you are allowed to choose a film for the movie review task, think carefully about what movie you would like to appraise. At first, you may want to pick one of the favorite films that you have watched dozens of times. However, there is a risk that you will not be able to be objective and will write just a positive comment instead of a professional movie review. Therefore, it is better to select something from novelties or cinema classics that you have always wanted to watch.

As for the watching process, it is recommended to do it at least twice to write a quality movie review. The point is that during the first watching, you can focus on the storyline and your own impressions; at the time of the second one, you can pay more attention to details like decorations, lighting, storyboard, acting, music, etc.     

2. Make Notes

When you are going to watch the film for the first time, it is better to fully immerse yourself in the story shown on the screen. It would be useful to highlight the scenes that you consider important and will want to return to.

However, when it comes to watching the film for the second time, it is necessary to be ready to pause the movie in almost every scene to take notes. Write down absolutely everything that comes to your mind at once. Later, these notes will help you a lot.

3. Analyze and Evaluate the Movie

When your observations are written down, give yourself some time. Let your impressions settle down a little so that you can formulate your thoughts properly and write a good movie review. It is a great idea to:

• Identify what aftertaste is left by the movie  
• Think about what exactly you remember from the film
• Define its main idea, determine what questions the movie asks, and which answers gives
• Give your assessment of the selection of actors and analyze whether everyone managed to cope with the roles.
• Consider special techniques used in the film and their effect on your impression.

4. Draft a Review Outline

It is much easier to start writing a movie review when you have a plan. Try to structure all your notes and make an outline of the paper. This way, you will know what to write in the introduction, body paragraphs, and conclusion and will be able to arrange all arguments in the correct logical order.

5. Write Your Review

When you have made all the preparations and have a basis for the movie review, you can get to the main part of the work. As with any other written assignment, this task requires your concentration, so allocate enough time for it in advance. It is important to support each expressed opinion with arguments and examples from the film.

6. Proofread and Edit Your Final Draft

After writing the text, switch to some other activity and return to the movie review after a little rest.

• First, read the full text to understand whether the main idea is clear.
• Also, make sure that every point you want to convey to the reader is described.
• Further, start the so-called slow reading. Re-read each sentence several times not to miss any grammar or spelling mistakes.
• Finally, make sure that the text is arranged in accordance with the format standards.

Video Guide on How to Write a Movie Review

If there is an opportunity to learn from the best, do not miss it. Check out the movie review writing tips from the New York Times chief film critic A.O. Scott.

Movie Review Outline

A paper plan with your thoughts and notes written down will greatly help you organize the text. When a film review outline is ready, it is much easier to start writing because you know what information to focus on in the paper.

To make a useful plan, you need to be familiar with the required movie review format. Writing an outline, consider the classic film review structure, which includes an introduction, description, analysis, and conclusion. 

Movie Review Introduction

Assuming that the reader knows nothing about the film being described in the movie review, it would be reasonable to begin the text with a short movie presentation.

To start a movie review, you may provide such general facts about a film as title, genre, release date, cast, production company, director, and budget. If you found information about the background of the film or details of the script creation, it would be great to focus on it in your movie review introduction as well.

Movie Description

In this part of the movie review, give a brief summary of the plot and short characteristics of the main heroes. It is recommended not to make this section too extensive since there is a high risk of turning the movie review into a regular retelling. Moreover, the less you describe a plot, the less likely you are to give the reader a couple of spoilers.

Movie Analysis

The objective assessment of the picture is the main part of the movie review. In general, the film analysis should include such elements as:

• main idea and storyline evaluation,
• appraisal of creative components (color spectrum, decorations, costumes, makeup, music, etc.),
• estimation of technologies (special effects, unusual shooting methods, etc.),
• the final analysis of the topic,    
• strong and weak points of the film.

Movie Review Conclusion

Describe your overall impression of the film. Try to think about what made you happy, what surprised, and what upset you in the movie. Although you are giving your own evaluation, remember that it has to be supported by arguments. Explain to whom you would recommend this movie and why.

Movie Review Examples

In case you have never completed such assignments before, it is an excellent idea to have a movie review essay example in front of you while writing. When you see a ready text, it becomes much easier to understand the structure and main features of the paper.

It is better to choose a movie review sample or several of them from films you have already watched. Reading the movie review with a professional critique of the plot, casting, decorations, etc., you will be able to compare it with your own impressions and opinion. So, you can recognize some mistakes in your approach to the film assessment even before starting the work.  

Here are movie review examples of some world-famous pictures:   

• The Shawshank Redemption Review
• The Godfather Review
• The Dark Knight Review
• The Lord of the Rings: The Return of the King Review
• Schindler's List Review
• Pulp Fiction Review
• Inception Review
• Fight Club Review
• Forrest Gump Review
• The Matrix Review

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7.3 Glance at Genre: Criteria, Evidence, Evaluation

Learning outcomes.

By the end of this section, you will be able to:

• Identify and define common characteristics, mediums, key terms, and features of the review genre.
• Identify criteria and evidence to support reviews of different primary sources.

Reviews vary in style and content according to the subject, the writer, and the medium. The following are characteristics most frequently found in reviews:

• Focused subject : The subject of the review is specific and focuses on one item or idea. For example, a review of all Marvel Cinematic Universe movies could not be contained in the scope of a single essay or published review not only because of length but also because of the differences among them. Choosing one specific item to review—a single film or single topic across films, for instance—will allow you to provide a thorough evaluation of the subject.
• Judgment or evaluation: Reviewers need to deliver a clear judgment or evaluation to share with readers their thoughts on the subject and why they would or would not recommend it. An evaluation can be direct and explicit, or it can be indirect and subtle.
• Specific evidence : All reviews need specific evidence to support the evaluation. Typically, this evidence comes in the form of quotations and vivid descriptions from the primary source, or subject of the review. Reviewers often use secondary sources —works about the primary source — to support their claims or provide context.
• Context : Reviewers provide context, such as relevant historical or cultural background, current events, or short biographical sketches, that help readers understand both the primary source and the review.
• Tone : Writers of effective reviews tend to maintain a professional, unbiased tone—attitude toward the subject. Although many reviewers try to avoid sarcasm and dismissiveness, you will find these elements present in professional reviews, especially those in which critics pan the primary source.

These are some key terms to know and use when writing a review:

• Analysis : detailed examination of the parts of a whole or of the whole itself.
• Connotation: implied feelings or thoughts associated with a word. Connotations can be positive or negative. Reviewers often use words with strong positive or negative connotations that support their praise or criticism. For example, a writer may refer to a small space positively as “cozy” instead of negatively as “cramped.”
• Criteria : standards by which something is judged. Reviewers generally make their evaluation criteria clear by listing and explaining what they are basing their review on. Each type of primary source has its set of standards, some or all of which reviewers address.
• Critics : professional reviewer who typically publishes reviews in well-known publications.
• Denotation : the literal or dictionary definition of a word.
• Evaluation : judgment based on analysis.
• Fandom : community of admirers who follow their favorite works and discuss them online as a group.
• Genre : broad category of artistic compositions that share similar characteristics such as form, subject matter, or style. For example, horror, suspense, and drama are common film and literary genres. Hip hop and reggae are common music genres.
• Medium : way in which a work is created or delivered (DVD, streaming, book, vinyl, etc.). Works can appear in more than one medium.
• Mode : sensory method through which a person interacts with a work. Modes include linguistic, visual, audio, spatial, and gestural.
• Primary Sources : in the context of reviewing, the original work or item being reviewed, whether a film, book, performance, business, or product. In the context of research, primary sources are items of firsthand, or original, evidence, such as interviews, court records, diaries, letters, surveys, or photographs.
• Recap : summary of an individual episode of a television series.
• Review : genre that evaluates performances, exhibitions, works of art (books, movies, visual arts), services, and products
• Secondary source: source that contains the analysis or synthesis of someone else, such as opinion pieces, newspaper and magazine articles, and academic journal articles.
• Subgenre : category within a genre. For example, subgenres of drama include various types of drama: courtroom drama, historical/costume drama, and family drama.

Establishing Criteria

All reviewers and readers alike rely on evidence to support an evaluation. When you review a primary source, the evidence you use depends on the subject of your evaluation, your audience, and how your audience will use your evaluation. You will need to determine the criteria on which to base your evaluation. In some cases, you will also need to consider the genre and subgenre of your subject to determine evaluation criteria. In your review, you will need to clarify your evaluation criteria and the way in which specific evidence related to those criteria have led you to your judgment. Table 7.1 illustrates evaluation criteria in four different primary source types.

Even within the same subject, however, evaluation criteria may differ according to the genre and subgenre of the film. Audiences have different expectations for a horror movie than they do for a romantic comedy, for example. For your subject, select the evaluation criteria on the basis of your knowledge of audience expectations. Table 7.2 shows how the evaluation criteria might be different in film reviews of different genres.

Providing Objective Evidence

You will use your established evaluation criteria to gather specific evidence to support your judgment. Remember, too, that criteria are fluid; no reviewer will always use the same criteria for all works, even those in the same genre or subgenre.

Whether or not the criteria are unique to the particular task, a reviewer must look closely at the subject and note specific details from the primary source or sources. If you are evaluating a product, look at the product specifications and evaluate product performance according to them, noting details as evidence. When evaluating a film, select either quotations from the dialogue or detailed, vivid descriptions of scenes. If you are evaluating an employee’s performance, observe the employee performing their job and take notes. These are examples of primary source evidence: raw information you have gathered and will analyze to make a judgment.

Gathering evidence is a process that requires you to look closely at your subject. If you are reviewing a film, you certainly will have to view the film several times, focusing on only one or two elements of the evaluation criteria at a time. If you are evaluating an employee, you might have to observe that employee on several occasions and in a variety of situations to gather enough evidence to complete your evaluation. If you are evaluating a written argument, you might have to reread the text several times and annotate or highlight key evidence. It is better to gather more evidence than you think you need and choose the best examples rather than try to base your evaluation on insufficient or irrelevant evidence.

Modes of Reviews

Not all reviews have to be written; sometimes a video or an audio review can be more engaging than a written review. YouTube has become a popular destination for project reviews, creating minor celebrities out of popular reviewers. However, a written review of a movie might work well because the reviewer can provide just enough information to avoid spoiling the movie, whereas some reviews require more visual interaction to understand.

Take reviewer Doug DeMuro ’s popular YouTube channel. DeMuro reviews cars—everything from sports cars to sedans to vintage cars. Car buyers need to interact with a car to want to buy it, and YouTube provides the next best thing by giving viewers an up-close look.

Technology is another popular type of review on YouTube. YouTube creators like Marques Brownlee discuss rumors about the next Apple iPhone or Samsung Galaxy and provide unboxing videos to record their reactions to the latest phones and laptops. Like DeMuro’s viewers, Brownlee’s audience can get up close to the product. Seeing a phone in Brownlee’s hands helps audience members imagine it in their hands.

On the other hand, reviews don’t always need to be about products you can touch, as Paul Lucas demonstrates on his YouTube channel “Wingin’ It!” Lucas reviews travel experiences (mainly airlines and sometimes trains), evaluating the service of airlines around the world and in various ticket classes.

What do these reviews have in common? First, they are all in the video medium. YouTube ’s medium is video; a podcast’s medium is audio. They also share a mode. YouTube ’s mode is viewing or watching; a podcast’s mode is listening.

These examples all use the genre conventions of reviews discussed in this chapter. The reviewers present a clear evaluation: should you buy this car, phone, or airline ticket? They base their evaluation on evidence that fits a set of evaluation criteria. Doug DeMuro might evaluate a family sedan on the basis of seating, trunk storage, and ride comfort. Marques Brownlee might judge a phone on the basis of battery life, design, and camera quality. Paul Lucas might grade an airline on service, schedules, and seat comfort. While the product or service being reviewed might be different, all three reviewers use similar frameworks.

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Home — Essay Samples — Entertainment — Movies — Movie Review

Essays on Movie Review

Once in a while, you’ll be asked to do a movie review essay. This task is a great training tool for enhancing critical thinking skills. Essays on movie review aim at presenting a film from the most important scenes, special effects, to exciting moments and may be accompanied by criticism. From an advertising perspective, such a paper is aimed at convincing readers to watch the movie in question. Your writing should let a reader draw a conclusion, i.e, whether the film is worth their time or if they should try something else. Most importantly, your opinion must be independent and accurate. But how can you create a perfect introduction if you don’t have the experience in this type of writing? Relax. A good online writer can do it for you. If you have an idea but need some guidance, simply ask for a professional outline or use evaluation essay examples for students for more insights.

Hook Examples for Movie Review Essays

"a cinematic masterpiece" hook.

"Prepare to be captivated by the sheer brilliance of this cinematic masterpiece. Explore how every frame, performance, and detail contributes to a visual and emotional spectacle."

"Beyond the Screen: Themes and Messages" Hook

"This film transcends entertainment, offering profound themes and powerful messages. Dive into the underlying ideas and social commentary that make it a thought-provoking experience."

"The Journey of Character Development" Hook

"Follow the compelling journey of characters who evolve throughout the film. Analyze their growth, conflicts, and relationships, making this movie a character-driven narrative."

"Visual Delights: Cinematography and Special Effects" Hook

"Be prepared to be visually stunned by the breathtaking cinematography and cutting-edge special effects. Explore how these elements enhance the storytelling and immerse the audience."

"Unforgettable Performances" Hook

"The cast delivers unforgettable performances that breathe life into the characters. Discuss standout acting moments, character dynamics, and the emotional impact of their roles."

"The Soundtrack: Music That Moves" Hook

"The film's soundtrack is more than just music; it's an integral part of the storytelling. Explore how the score enhances emotions, sets the tone, and complements the visuals."

"Cinematic Analysis: Directing and Editing" Hook

"Delve into the meticulous craftsmanship of the director and editor. Analyze their choices in pacing, sequencing, and storytelling techniques that make this film a cinematic triumph."

Inmate Code Movie Analysis

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Movie Reviews

13 August 2023

last updated

In movie reviews, students analyze specific films on its mise-en-scène elements in cinematography. Firstly, they watch the film, making notes for their academic papers. Then, students define key elements of the mise-en-scène, such as lights, angles of the camera, colors, characters, actors, music, speed of frames, exposure, costumes, visuals, composition, and others, that they will cover in their paper. After that, students start organizing their papers and face many challenges in what, how, and about what to write. In this case, this guide on movie reviews can help everyone to write a high-quality critic on the film.

What is a Movie Review?

Movie reviews are specific assignments that students get to learn how to analyze different aspects of cinematography. Basically, main elements for the analysis of a particular film may include any mise-en-scène, covering lights, angles of the camera, colors, characters, actors, music, speed of frames, exposure, costumes, visuals, composition, and others. Because a movie review assignment is one of the types of papers and requires following specific instructions like a book review , students define a film that they want to analyze in genres, like historical works, dramas, comedies, horrors, adventures, and others. In this case, students watch the film, making some notes that they will use in their academic papers. Therefore, a movie review is an assignment in academic writing that requires watching the film and knowledge of the main elements of cinematography.

What Are the Steps Needed in Movie Reviews?

Any type of work supposes a person to follow specific steps to achieve the desired results. In this case, in order to write a high-quality movie review, the recommended steps are:

• Watch the film.
• Define the main elements of cinematography that you will use to analyze and your audience.
• Make notes of specific scenes that you will use in your movie review.
• Define the structure of your academic paper.
• Outline the main points.
• Develop a thesis statement.
• Find scholarly sources that can help you to prove your thoughts.
• Write the first draft of your movie review.
• Revise your thesis statement and paper.

What Are the Main Elements of Cinematography in Films?

Mise-en-scène is a term in cinematography that covers all elements that people see in movies. Basically, it is a term for the analysis, not production. As a result, mise-en-scène elements in movie reviews may include:

Exposure is a state of control of lights that must be used for movie reviews. In this case, exposure depends on settings of used camera and vision of cinematography of the director or directors.

Composition means a scene as a screenshot of the situation that can be covered in movie reviews. In simple words, if people see a picture, they consider different elements that they see in it, including objects, subjects, background, main elements, and others. Hence, the quality of a picture depends on the composition.

Music is an element of the mise-en-scène that helps to highlight specific elements. For example, if a person is happy, it can be supported by funny sounds.

Visuals mean visual elements that people see in the film. Basically, it may include many other elements in mise-en-scène.

Lights mean levels of lights that are used to manipulate the emotions of the audience. The different levels of lights lead to specific emotions.

Other mise-en-scène elements

Angles of the camera serve to represent characters or scenes and highlight something important or hide unnecessary things. Since a camera is what shows scenes, its representation may lead to different results.

Colors may mean not only the quality of frames but also represent bright examples of different aspects. For example, if people see beautiful blue mountains or green wood, they can feel the glory of nature.

Characters or all people involved in the movie with their roles are actors. In this case, their play, costumes, dialogues, and other aspects define the success of feelings or ideas that they want to present to the audience.

Actors are people who play characters in the films. Their plays define success or failure of the designed scene.

Speed of frames means speed in changes of scenes. For example, if many events constantly change at high speed, people may not understand what they watch. However, in order to highlight the speed of the scene, frames can be accelerated.

Costumes mean clothes in which actors are dressed. For example, if the film is a historical work, costumes must correspond to the time of the plot.

Why Is Writing Movie Reviews Important?

Movies and reviews are the products of human creativity and technologies. Because people invited cameras, they started to make movies on stories as alternatives to books and other readings. In this case, movies helped people to see visual representations of different stories by the eyes of the directors. However, not all of the films can be done with high quality while movie reviews develop the field of cinematography. Hence, movie reviews serve to shape and expand the quality of films.

First Paragraph in the Movie Review

Specifically, any academic paper must include an introduction part with a clear thesis statement that reflects all body paragraphs, including the target audience. However, in movie reviews, the introduction part must also include the title of the film with the director or directors. In this case, readers can understand what the student or another person writes. Moreover, the introduction part must cover the main elements of cinematography that are used in the analysis clearly and logically. As a result, the introduction part will be appropriate for the movie analysis.

Body Paragraphs

The structure of body paragraphs of movie reviews differs from typical essays and research papers. Basically, the first body paragraph must be a summary of the film or its plot. In this case, not all of the people who read the written paper may watch the film. After that, the next body paragraph can cover the main elements for the analysis with specific scenes of the defined film or other scholarly articles that approve the thoughts of the writer. Moreover, the last body paragraph may be the reflection of the writer about key aspects of the film. In this way, this structure in movie reviews can help to organize a high-quality paper.

The conclusion part of the movie review reflects the written text in the body of the paper, restating a thesis statement. Since all body paragraphs with its analysis and evidence are discovered, students must write a review with key points, resulting from the review. In this section, students also can discuss the professionalism or weak sides of the work of the director or directors as a result of the analysis. As a result, the final sentence of the movie review can be a final claim on the film. Also, see info on Christian movie reviews .

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The essay film

In recent years the essay film has attained widespread recognition as a particular category of film practice, with its own history and canonical figures and texts. In tandem with a major season throughout August at London’s BFI Southbank, Sight & Sound explores the characteristics that have come to define this most elastic of forms and looks in detail at a dozen influential milestone essay films.

Andrew Tracy , Katy McGahan , Olaf Möller , Sergio Wolf , Nina Power Updated: 7 May 2019

from our August 2013 issue

Le camera stylo? Dziga Vertov’s Man with a Movie Camera (1929)

I recently had a heated argument with a cinephile filmmaking friend about Chris Marker’s Sans soleil (1983). Having recently completed her first feature, and with such matters on her mind, my friend contended that the film’s power lay in its combinations of image and sound, irrespective of Marker’s inimitable voiceover narration. “Do you think that people who can’t understand English or French will get nothing out of the film?” she said; to which I – hot under the collar – replied that they might very well get something, but that something would not be the complete work.

The Sight & Sound Deep Focus season Thought in Action: The Art of the Essay Film runs at BFI Southbank 1-28 August 2013, with a keynote lecture by Kodwo Eshun on 1 August, a talk by writer and academic Laura Rascaroli on 27 August and a closing panel debate on 28 August.

To take this film-lovers’ tiff to a more elevated plane, what it suggests is that the essentialist conception of cinema is still present in cinephilic and critical culture, as are the difficulties of containing within it works that disrupt its very fabric. Ever since Vachel Lindsay published The Art of the Moving Picture in 1915 the quest to secure the autonomy of film as both medium and art – that ever-elusive ‘pure cinema’ – has been a preoccupation of film scholars, critics, cinephiles and filmmakers alike. My friend’s implicit derogation of the irreducible literary element of Sans soleil and her neo- Godard ian invocation of ‘image and sound’ touch on that strain of this phenomenon which finds, in the technical-functional combination of those two elements, an alchemical, if not transubstantiational, result.

Mechanically created, cinema defies mechanism: it is poetic, transportive and, if not irrational, then a-rational. This mystically-minded view has a long and illustrious tradition in film history, stretching from the sense-deranging surrealists – who famously found accidental poetry in the juxtapositions created by randomly walking into and out of films; to the surrealist-influenced, scientifically trained and ontologically minded André Bazin , whose realist veneration of the long take centred on the very preternaturalness of nature as revealed by the unblinking gaze of the camera; to the trash-bin idolatry of the American underground, weaving new cinematic mythologies from Hollywood detritus; and to auteurism itself, which (in its more simplistic iterations) sees the essence of the filmmaker inscribed even upon the most compromised of works.

It isn’t going too far to claim that this tradition has constituted the foundation of cinephilic culture and helped to shape the cinematic canon itself. If Marker has now been welcomed into that canon and – thanks to the far greater availability of his work – into the mainstream of (primarily DVD-educated) cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built.

In his review of Letter from Siberia (1957), Bazin placed Marker at right angles to cinema proper, describing the film’s “primary material” as intelligence – specifically a “verbal intelligence” – rather than image. He dubbed Marker’s method a “horizontal” montage, “as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot”.

Here, claimed Bazin, “a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.” Thus the very thing which makes Letter “extraordinary”, in Bazin’s estimation, is also what makes it not-cinema. Looking for a term to describe it, Bazin hit upon a prophetic turn of phrase, writing that Marker’s film is, “to borrow Jean Vigo’s formulation of À propos de Nice (‘a documentary point of view’), an essay documented by film. The important word is ‘essay’, understood in the same sense that it has in literature – an essay at once historical and political, written by a poet as well.”

Marker’s canonisation has proceeded apace with that of the form of which he has become the exemplar. Whether used as critical/curatorial shorthand in reviews and programme notes, employed as a model by filmmakers or examined in theoretical depth in major retrospectives (this summer’s BFI Southbank programme, for instance, follows upon Andréa Picard’s two-part series ‘The Way of the Termite’ at TIFF Cinémathèque in 2009-2010, which drew inspiration from Jean-Pierre Gorin ’s groundbreaking programme of the same title at Vienna Filmmuseum in 2007), the ‘essay film’ has attained in recent years widespread recognition as a particular, if perennially porous, mode of film practice. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition.

Las Hurdes (1933)

It is crucial to note that the ‘essay film’ is not only a post-facto appellation for a kind of film practice that had not bothered to mark itself with a moniker, but also an invention and an intervention. While it has acquired its own set of canonical ‘texts’ that include the collected works of Marker, much of Godard – from the missive (the 52-minute Letter to Jane , 1972) to the massive ( Histoire(s) de cinéma , 1988-98) – Welles’s F for Fake (1973) and Thom Andersen’s Los Angeles Plays Itself (2003), it has also poached on the territory of other, ‘sovereign’ forms, expanding its purview in accordance with the whims of its missionaries.

From documentary especially, Vigo’s aforementioned À propos de Nice, Ivens’s Rain (1929), Buñuel’s sardonic Las Hurdes (1933), Resnais’s Night and Fog (1955), Rouch and Morin’s Chronicle of a Summer (1961); from the avant garde, Akerman’s Je, Tu, Il, Elle (1974), Straub/Huillet’s Trop tôt, trop tard (1982); from agitprop, Getino and Solanas’s The Hour of the Furnaces (1968), Portabella’s Informe general… (1976); and even from ‘pure’ fiction, for example Gorin’s provocative selection of Griffith’s A Corner in Wheat (1909).

Just as within itself the essay film presents, in the words of Gorin, “the meandering of an intelligence that tries to multiply the entries and the exits into the material it has elected (or by which it has been elected),” so, without, its scope expands exponentially through the industrious activity of its adherents, blithely cutting across definitional borders and – as per the Manny Farber ian concept which gave Gorin’s ‘Termite’ series its name –  creating meaning precisely by eating away at its own boundaries. In the scope of its application and its association more with an (amorphous) sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction.

The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period (no matter that the temporal goalposts are continually shifted), the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the 1940s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both.

“Here is a form that seems to accommodate the two sides of that divide at the same time, that can navigate from documentary to fiction and back, creating other polarities in the process between which it can operate,” writes Gorin. When Orson Welles , in the closing moments of his masterful meditation on authenticity and illusion F for Fake, chortles, “I did promise that for one hour, I’d tell you only the truth. For the past 17 minutes, I’ve been lying my head off,” he is expressing both the conjuror’s pleasure in a trick well played and the artist’s delight in a self-defined mode that is cheerfully impure in both form and, perhaps, intention.

Nevertheless, as the essay film merrily traipses through celluloid history it intersects with ‘pure cinema’ at many turns and its form as such owes much to one particularly prominent variety thereof.

The montage tradition

If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction.

No less than the mystics, however, the montagists were after essences. Eisenstein , Dziga Vertov and Pudovkin , along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images – the general made powerfully, viscerally immediate in the particular. Here, says Eisenstein, in the umbrella-wielding harpies who set upon the revolutionaries in October (1928), is bourgeois Reaction made manifest; here, in the serried ranks of soldiers proceeding as one down the Odessa Steps in Battleship Potemkin (1925), is Oppression undisguised; here, in the condemned Potemkin sailor who wins over his imminent executioners with a cry of “Brothers!” – a moment powerfully invoked by Marker at the beginning of his magnum opus A Grin Without a Cat (1977) – is Solidarity emergent and, from it, the seeds of Revolution.

The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. So, too, the former’s fierce ideological certainty and cadre spirit contrast with that free play of the mind, the Montaigne -inspired meanderings of individual intelligence, that so characterise our image of the latter.

Beyond Marker’s personal interest in and inheritance from the Soviet masters, classical montage laid the foundations of the essay film most pertinently in its foregrounding of the presence, within the fabric of the film, of a directing intelligence. Conducting their experiments in film not through ‘pure’ abstraction but through narrative, the montagists made manifest at least two operative levels within the film: the narrative itself and the arrangement of that narrative by which the deeper structures that move it are made legible. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society.

And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic – whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage – was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality.

Dziga Vertov’s Enthusiasm (1931)

Midway on their Marxian mission to change the world rather than interpret it, the montagists actively made the world even as they revealed it. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself.

Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control.

At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles – to exhaust its wealth of surfaces, meanings, implications, resonances – collides with awe (or fear) before a plenitude that can never be encompassed.

Remove the high-modernist sense of mission and we can see this same dynamic as animating the essay film – recall that last, parenthetical term in Gorin’s formulation of the essay film, “multiply[ing] the entries and the exits into the material it has elected (or by which it has been elected)”. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability.

The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. While Leni Riefenstahl’s Triumph of the Will (1935) and Olympia (1938) amply and chillingly demonstrated that montage, like any instrumental apparatus, has no inherent ideological nature, hers were more the exceptions that proved the rule. (Though why, apart from ideological repulsiveness, should Riefenstahl’s plentifully fabricated ‘documentaries’ not be considered as essay films in their own right?)

The overwhelming fact remains that the great majority of those who drew upon the Soviet montagists for explicitly ideological ends (as opposed to Hollywood’s opportunistic swipings) resided on the left of the spectrum – and, in the montagists’ most notable successor in the period immediately following, retained their alignment with and inextricability from the state.

Progressive vs radical

The Grierson ian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. But if it offered a far paler antecedent to the essay film than the Soviet montage tradition, it nevertheless represents an important stage in the evolution of the essay-film form, for reasons not unrelated to some of those rather staid qualities.

The Soviet montagists had created a vision of modernity racing into the future at pace with the social and spiritual liberation of its proletarian pilot-passenger, an aggressively public ideology of group solidarity. The Grierson school, by contrast, offered a domesticated image of an efficient, rational and productive modern industrial society based on interconnected but separate public and private spheres, as per the ideological values of middle-class liberal individualism.

The Soviet montagists had looked to forge a universal, ‘pure’ cinematic language, at least before the oppressive dictates of Stalinist socialist realism shackled them. The Grierson school, evincing a middle-class disdain for the popular and ‘low’ arts, sought instead to purify the sullied medium of cinema by importing extra-cinematic prestige: most notably Night Mail (1936), with its Auden -penned, Britten -scored ode to the magic of the mail, or Humphrey Jennings’s salute to wartime solidarity A Diary for Timothy (1945), with its mildly sententious E.M. Forster narration.

Night Mail (1936)

What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language (montage) with a traditionally literary one (narration); and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning – as the mediating intelligence that connects the viewer to the images viewed.

In Night Mail especially there is, in the whimsy of the Auden text and the film’s synchronisation of private time and public history, an intimation of the essay film’s musing, reflective voice as the chugging rhythm of the narration timed to the speeding wheels of the train gives way to a nocturnal vision of solitary dreamers bedevilled by spectral monsters, awakening in expectation of the postman’s knock with a “quickening of the heart/for who can bear to be forgot?”

It’s a curiously disquieting conclusion: this unsettling, anxious vision of disappearance that takes on an even darker shade with the looming spectre of war – one that rhymes, five decades on, with the wistful search of Marker’s narrator in Sans soleil, seeking those fleeting images which “quicken the heart” in a world where wars both past and present have been forgotten, subsumed in a modern society built upon the systematic banishment of memory.

It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. In contrast to the striving culture-snobbery of the Griersonian documentary, the Resnais-Marker collaborations (and the Resnais solo documentary shorts that preceded them) inaugurate a blithe, seemingly effortless dialogue between cinema and the other arts in both their subjects (painting, sculpture) and their assorted creative personnel (writers Paul Éluard , Jean Cayrol , Raymond Queneau , composers Darius Milhaud and Hanns Eisler ). This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation.

Related to this was the form’s problems with official patronage. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi (1953) for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed.

Night and Fog (1955)

Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence – the whirl of the city, the rhythm of the rain, the workings of industry – to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The African masks preserved in the Musée de l’Homme in Les statues meurent aussi speak of a bloody legacy of vanquished and conquered civilisations; the labyrinthine archival complex of the Bibliothèque Nationale in the sardonically titled Toute la mémoire du monde (1956) sparks a disquisition on all that is forgotten in the act of cataloguing knowledge; the miracle of modern plastics saluted in the witty, industrially commissioned Le Chant du styrène (1958) regresses backwards to its homely beginnings; in Night and Fog an unprecedentedly enormous effort of human organisation marshals itself to actively produce a dreadful, previously unimaginable nullity.

To overstate the case, loss is the primary motor of the modern essay film: loss of belief in the image’s ability to faithfully reflect reality; loss of faith in the cinema’s ability to capture life as it is lived; loss of illusions about cinema’s ‘purity’, its autonomy from the other arts or, for that matter, the world.

“You never know what you may be filming,” notes one of Marker’s narrating surrogates in A Grin Without a Cat, as footage of the Chilean equestrian team at the 1952 Helsinki Olympics offers a glimpse of a future member of the Pinochet junta. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak.

What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes.

— Andrew Tracy

1.   À propos de Nice

Jean Vigo, 1930

Few documentaries have achieved the cult status of the 22-minute A propos de Nice, co-directed by Jean Vigo and cameraman Boris Kaufman at the beginning of their careers. The film retains a spontaneous, apparently haphazard, quality yet its careful montage combines a strong realist drive, lyrical dashes – helped by Marc Perrone’s accordion music – and a clear political agenda.

In today’s era, in which the Côte d’Azur has become a byword for hedonistic consumption, it’s refreshing to see a film that systematically undermines its glossy surface. Using images sometimes ‘stolen’ with hidden cameras, A propos de Nice moves between the city’s main sites of pleasure: the Casino, the Promenade des Anglais, the Hotel Negresco and the carnival. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the (then) squalid streets of the Old Town.

As often, women bear the brunt of any critique of bourgeois consumption: a rich old woman’s head is compared to an ostrich, others grin as they gaze up at phallic factory chimneys; young women dance frenetically, their crotch to the camera. In the film’s most famous image, an elegant woman is ‘stripped’ by the camera to reveal her naked body – not quite matched by a man’s shoes vanishing to display his naked feet to the shoe-shine.

An essay film avant la lettre , A propos de Nice ends on Soviet-style workers’ faces and burning furnaces. The message is clear, even if it has not been heeded by history.

— Ginette Vincendeau

2. A Diary for Timothy

Humphrey Jennings, 1945

A Diary for Timothy takes the form of a journal addressed to the eponymous Timothy James Jenkins, born on 3 September 1944, exactly five years after Britain’s entry into World War II. The narrator, Michael Redgrave , a benevolent offscreen presence, informs young Timothy about the momentous events since his birth and later advises that, even when the war is over, there will be “everyday danger”.

The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business.

Within the confines of the Ministry of Information’s remit – to lift the spirits of a battle-weary nation – and the loose narrative framework of Timothy’s first six months, Jennings finds ample expression for the kind of formal experiment that sets his work apart from that of other contemporary documentarians. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Managing to keep to the right side of sentimentality, it still makes for potent viewing.

— Catherine McGahan

3. Toute la mémoire du monde

Alain Resnais, 1956

In the opening credits of Toute la mémoire du monde, alongside the director’s name and that of producer Pierre Braunberger , one reads the mysterious designation “Groupe des XXX”. This Group of Thirty was an assembly of filmmakers who mobilised in the early 1950s to defend the “style, quality and ambitious subject matter” of short films in post-war France; the signatories of its 1953 ‘Declaration’ included Resnais , Chris Marker and Agnès Varda. The success of the campaign contributed to a golden age of short filmmaking that would last a decade and form the crucible of the French essay film.

A 22-minute poetic documentary about the old French Bibliothèque Nationale, Toute la mémoire du monde is a key work in this strand of filmmaking and one which can also be seen as part of a loose ‘trilogy of memory’ in Resnais’s early documentaries. Les statues meurent aussi (co-directed with Chris Marker) explored cultural memory as embodied in African art and the depredations of colonialism; Night and Fog was a seminal reckoning with the historical memory of the Nazi death camps. While less politically controversial than these earlier works, Toute la mémoire du monde’s depiction of the Bibliothèque Nationale is still oddly suggestive of a prison, with its uniformed guards and endless corridors. In W.G. Sebald ’s 2001 novel Austerlitz, directly after a passage dedicated to Resnais’s film, the protagonist describes his uncertainty over whether, when using the library, he “was on the Islands of the Blest, or, on the contrary, in a penal colony”.

Resnais explores the workings of the library through the effective device of following a book from arrival and cataloguing to its delivery to a reader (the book itself being something of an in-joke: a mocked-up travel guide to Mars in the Petite Planète series Marker was then editing for Editions du Seuil). With Resnais’s probing, mobile camerawork and a commentary by French writer Remo Forlani, Toute la mémoire du monde transforms the library into a mysterious labyrinth, something between an edifice and an organism: part brain and part tomb.

— Chris Darke

4. The House is Black

(Khaneh siah ast) Forough Farrokhzad, 1963

Before the House of Makhmalbaf there was The House is Black. Called “the greatest of all Iranian films” by critic Jonathan Rosenbaum, who helped translate the subtitles from Farsi into English, this 20-minute black-and-white essay film by feminist poet Farrokhzad was shot in a leper colony near Tabriz in northern Iran and has been heralded as the touchstone of the Iranian New Wave.

The buildings of the Baba Baghi colony are brick and peeling whitewash but a student asked to write a sentence using the word ‘house’ offers Khaneh siah ast : the house is black. His hand, seen in close-up, is one of many in the film; rather than objects of medical curiosity, these hands – some fingerless, many distorted by the disease – are agents, always in movement, doing, making, exercising, praying. In putting white words on the blackboard, the student makes part of the film; in the next shots, the film’s credits appear, similarly handwritten on the same blackboard.

As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”).

In the conjunctions between Farrokhzad’s poetic narration and diegetic sound, including tanbur-playing, an intense assonance arises. Its beat is provided by uniquely lyrical associative editing that would influence Abbas Kiarostami , who quotes Farrokhzad’s poem ‘The Wind Will Carry Us’ in his eponymous film . Repeated shots of familiar bodily movement, made musical, move the film insistently into the viewer’s body: it is infectious. Posing a question of aesthetics, The House Is Black uses the contagious gaze of cinema to dissolve the screen between Us and Them.

— Sophie Mayer

5. Letter to Jane: An Investigation About a Still

Jean-Luc Godard & Jean-Pierre Gorin, 1972

With its invocation of Brecht (“Uncle Bertolt”), rejection of visual pleasure (for 52 minutes we’re mostly looking at a single black-and-white still) and discussion of the role of intellectuals in “the revolution”, Letter to Jane is so much of its time as to appear untranslatable to the present except as a curio from a distant era of radical cinema. Between 1969 and 1971, Godard and Gorin made films collectively as part of the Dziga Vertov Group before they returned, in 1972, to the mainstream with Tout va bien , a big-budget film about the aftermath of May 1968 featuring leftist stars Yves Montand and  Jane Fonda . It was to the latter that Godard and Gorin directed their Letter after seeing a news photograph of her on a solidarity visit to North Vietnam in August 1972.

Intended to accompany the US release of Tout va bien, Letter to Jane is ‘a letter’ only in as much as it is fairly conversational in tone, with Godard and Gorin delivering their voiceovers in English. It’s stylistically more akin to the ‘blackboard films’ of the time, with their combination of pedagogical instruction and stern auto-critique.

It’s also an inspired semiological reading of a media image and a reckoning with the contradictions of celebrity activism. Godard and Gorin examine the image’s framing and camera angle and ask why Fonda is the ‘star’ of the photograph while the Vietnamese themselves remain faceless or out of focus? And what of her expression of compassionate concern? This “expression of an expression” they trace back, via an elaboration of the Kuleshov effect , through other famous faces – Henry Fonda , John Wayne , Lillian Gish and Falconetti – concluding that it allows for “no reverse shot” and serves only to bolster Western “good conscience”.

Letter to Jane is ultimately concerned with the same question that troubled philosophers such as Levinas and Derrida : what’s at stake ethically when one claims to speak “in place of the other”? Any contemporary critique of celebrity activism – from Bono and Geldof to Angelina Jolie – should start here, with a pair of gauchiste trolls muttering darkly beneath a press shot of ‘Hanoi Jane’.

6. F for Fake

Orson Welles, 1973

Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his better-known feature debut.

Perhaps the film’s comparative and undeserved critical neglect is due to its predominantly playful tone, or perhaps it’s because it is a low-budget, hard-to-categorise, deeply personal work that mixes original material with plenty of footage filmed by others – most extensively taken from a documentary by François Reichenbach about Clifford Irving and his bogus biography of his friend Elmyr de Hory , an art forger who claimed to have painted pictures attributed to famous names and hung in the world’s most prestigious galleries.

If the film had simply offered an account of the hoaxes perpetrated by that disreputable duo, it would have been entertaining enough but, by means of some extremely inventive, innovative and inspired editing, Welles broadens his study of fakery to take in his own history as a ‘charlatan’ – not merely his lifelong penchant for magician’s tricks but also the 1938 radio broadcast of his news-report adaptation of H.G. Wells’ The War of the Worlds – as well as observations on Howard Hughes , Pablo Picasso and the anonymous builders of Chartres cathedral. So it is that Welles contrives to conjure up, behind a colourful cloak of consistently entertaining mischief, a rueful meditation on truth and falsehood, art and authorship – a subject presumably dear to his heart following Pauline Kael ’s then recent attempts to persuade the world that Herman J. Mankiewicz had been the real creative force behind Kane.

As a riposte to that thesis (albeit never framed as such), F for Fake is subtle, robust, supremely erudite and never once bitter; the darkest moment – as Welles contemplates the serene magnificence of Chartres – is at once an uncharacteristic but touchingly heartfelt display of humility and a poignant memento mori. And it is in this delicate balancing of the autobiographical with the universal, as well as in the dazzling deployment of cinematic form to illustrate and mirror content, that the film works its once unique, now highly influential magic.

— Geoff Andrew

7. How to Live in the German Federal Republic

(Leben – BRD) Harun Farocki, 1990

Harun Farocki ’s portrait of West Germany in 32 simulations from training sessions has no commentary, just the actions themselves in all their surreal beauty, one after the other. The Bundesrepublik Deutschland is shown as a nation of people who can deal with everything because they have been prepared – taught how to react properly in every possible situation.

We know how birth works; how to behave in kindergarten; how to chat up girls, boys or whatever we fancy (for we’re liberal-minded, if only in principle); how to look for a job and maybe live without finding one; how to wiggle our arses in the hottest way possible when we pole-dance, or manage a hostage crisis without things getting (too) bloody. Whatever job we do, we know it by heart; we also know how to manage whatever kind of psychological breakdown we experience; and we are also prepared for the end, and even have an idea about how our burial will go. This is the nation: one of fearful people in dire need of control over their one chance of getting it right.

Viewed from the present, How to Live in the German Federal Republic is revealed as the archetype of many a Farocki film in the decades to follow, for example Die Umschulung (1994), Der Auftritt (1996) or Nicht ohne Risiko (2004), all of which document as dispassionately as possible different – not necessarily simulated – scenarios of social interactions related to labour and capital. For all their enlightening beauty, none of these ever came close to How to Live in the German Federal Republic which, depending on one’s mood, can play like an absurd comedy or the most gut-wrenching drama. Yet one disquieting thing is certain: How to Live in the German Federal Republic didn’t age – our lives still look the same.

— Olaf Möller

8. One Man’s War

(La Guerre d’un seul homme) Edgardo Cozarinsky , 1982

One Man’s War proves that an auteur film can be made without writing a line, recording a sound or shooting a single frame. It’s easy to point to the ‘extraordinary’ character of the film, given its combination of materials that were not made to cohabit; there couldn’t be a less plausible dialogue than the one Cozarinsky establishes between the newsreels shot during the Nazi occupation of Paris and the Parisian diaries of novelist and Nazi officer Ernst Jünger . There’s some truth to Pascal Bonitzer’s assertion in Cahiers du cinéma in 1982 that the principle of the documentary was inverted here, since it is the images that provide a commentary for the voice.

But that observation still doesn’t pin down the uniqueness of a work that forces history through a series of registers, styles and dimensions, wiping out the distance between reality and subjectivity, propaganda and literature, cinema and journalism, daily life and dream, and establishing the idea not so much of communicating vessels as of contaminating vessels.

To enquire about the essayistic dimension of One Man’s War is to submit it to a test of purity against which the film itself is rebelling. This is no ars combinatoria but systems of collision and harmony; organic in their temporal development and experimental in their procedural eagerness. It’s like a machine created to die instantly; neither Cozarinsky nor anyone else could repeat the trick, as is the case with all great avant-garde works.

By blurring the genre of his literary essays, his fictional films, his archival documentaries, his literary fictions, Cozarinsky showed he knew how to reinvent the erasure of borders. One Man’s War is not a film about the Occupation but a meditation on the different forms in which that Occupation can be represented.

—Sergio Wolf. Translated by Mar Diestro-Dópido

9. Sans soleil

Chris Marker, 1982

There are many moments to quicken the heart in Sans soleil but one in particular demonstrates the method at work in Marker’s peerless film. An unseen female narrator reads from letters sent to her by a globetrotting cameraman named Sandor Krasna (Marker’s nom de voyage), one of which muses on the 11th-century Japanese writer  Sei Shōnagon .

As we hear of Shōnagon’s “list of elegant things, distressing things, even of things not worth doing”, we watch images of a missile being launched and a hovering bomber. What’s the connection? There is none. Nothing here fixes word and image in illustrative lockstep; it’s in the space between them that Sans soleil makes room for the spectator to drift, dream and think – to inimitable effect.

Sans soleil was Marker’s return to a personal mode of filmmaking after more than a decade in militant cinema. His reprise of the epistolary form looks back to earlier films such as  Letter from Siberia  (1958) but the ‘voice’ here is both intimate and removed. The narrator’s reading of Krasna’s letters flips the first person to the third, using ‘he’ instead of ‘I’. Distance and proximity in the words mirror, multiply and magnify both the distances travelled and the time spanned in the images, especially those of the 1960s and its lost dreams of revolutionary social change.

While it’s handy to define Sans soleil as an ‘essay film’, there’s something about the dry term that doesn’t do justice to the experience of watching it. After Marker’s death last year, when writing programme notes on the film, I came up with a line that captures something of what it’s like to watch Sans soleil: “a mesmerising, lucid and lovely river of film, which, like the river of the ancients, is never the same when one steps into it a second time”.

10. Handsworth Songs

Black Audio Film Collective, 1986

Made at the time of civil unrest in Birmingham, this key example of the essay film at its most complex remains relevant both formally and thematically. Handsworth Songs is no straightforward attempt to provide answers as to why the riots happened; instead, using archive film spliced with made and found footage of the events and the media and popular reaction to them, it creates a poetic sense of context.

The film is an example of counter-media in that it slows down the demand for either immediate explanation or blanket condemnation. Its stillness allows the history of immigration and the subsequent hostility of the media and the police to the black and Asian population to be told in careful detail.

One repeated scene shows a young black man running through a group of white policemen who surround him on all sides. He manages to break free several times before being wrestled to the ground; if only for one brief, utopian moment, an entirely different history of race in the UK is opened up.

The waves of post-war immigration are charted in the stories told both by a dominant (and frequently repressive) televisual narrative and, importantly, by migrants themselves. Interviews mingle with voiceover, music accompanies the machines that the Windrush generation work at. But there are no definitive answers here, only, as the Black Audio Film Collective memorably suggests, “the ghosts of songs”.

— Nina Power

11.   Los Angeles Plays Itself

Thom Andersen, 2003

One of the attractions that drew early film pioneers out west, besides the sunlight and the industrial freedom, was the versatility of the southern Californian landscape: with sea, snowy mountains, desert, fruit groves, Spanish missions, an urban downtown and suburban boulevards all within a 100-mile radius, the Los Angeles basin quickly and famously became a kind of giant open-air film studio, available and pliant.

Of course, some people actually live there too. “Sometimes I think that gives me the right to criticise,” growls native Angeleno Andersen in his forensic three-hour prosecution of moving images of the movie city, whose mounting litany of complaints – couched in Encke King’s gravelly, near-parodically irritated voiceover, and sometimes organised, as Stuart Klawans wrote in The Nation, “in the manner of a saloon orator” – belies a sly humour leavening a radically serious intent.

Inspired in part by Mark Rappaport’s factual essay appropriations of screen fictions (Rock Hudson’s Home Movies, 1993; From the Journals of Jean Seberg , 1995), as well as Godard’s Histoire(s) de cinéma, this “city symphony in reverse” asserts public rights to our screen discourse through its magpie method as well as its argument. (Today you could rebrand it ‘Occupy Hollywood’.) Tinseltown malfeasance is evidenced across some 200 different film clips, from offences against geography and slurs against architecture to the overt historical mythologies of Chinatown (1974), Who Framed Roger Rabbit (1988) and L.A. Confidential (1997), in which the city’s class and cultural fault-lines are repainted “in crocodile tears” as doleful tragedies of conspiracy, promoting hopelessness in the face of injustice.

Andersen’s film by contrast spurs us to independent activism, starting with the reclamation of our gaze: “What if we watch with our voluntary attention, instead of letting the movies direct us?” he asks, peering beyond the foregrounding of character and story. And what if more movies were better and more useful, helping us see our world for what it is? Los Angeles Plays Itself grows most moving – and useful – extolling the Los Angeles neorealism Andersen has in mind: stories of “so many men unneeded, unwanted”, as he says over a scene from Billy Woodberry’s Bless Their Little Hearts (1983), “in a world in which there is so much to be done”.

— Nick Bradshaw

12.   La Morte Rouge

Víctor Erice, 2006

The famously unprolific Spanish director Víctor Erice may remain best known for his full-length fiction feature The Spirit of the Beehive (1973), but his other films are no less rewarding. Having made a brilliant foray into the fertile territory located somewhere between ‘documentary’ and ‘fiction’ with The Quince Tree Sun (1992), in this half-hour film made for the ‘Correspondences’ exhibition exploring resemblances in the oeuvres of Erice and Kiarostami , the relationship between reality and artifice becomes his very subject.

A ‘small’ work, it comprises stills, archive footage, clips from an old Sherlock Holmes movie, a few brief new scenes – mostly without actors – and music by Mompou and (for once, superbly used) Arvo Pärt . If its tone – it’s introduced as a “soliloquy” – and scale are modest, its thematic range and philosophical sophistication are considerable.

The title is the name of the Québécois village that is the setting for The Scarlet Claw (1944), a wartime Holmes mystery starring Basil Rathbone and Nigel Bruce which was the first movie Erice ever saw, taken by his sister to the Kursaal cinema in San Sebastian.

For the five-year-old, the experience was a revelation: unable to distinguish the ‘reality’ of the newsreel from that of the nightmare world of Roy William Neill’s film, he not only learned that death and murder existed but noted that the adults in the audience, presumably privy to some secret knowledge denied him, were unaffected by the corpses on screen. Had this something to do with war? Why was La Morte Rouge not on any map? And what did it signify that postman Potts was not, in fact, Potts but the killer – and an actor (whatever that was) to boot?

From such personal reminiscences – evoked with wondrous intimacy in the immaculate Castillian of the writer-director’s own wry narration – Erice fashions a lyrical meditation on themes that have underpinned his work from Beehive to Broken Windows (2012): time and change, memory and identity, innocence and experience, war and death. And because he understands, intellectually and emotionally, that the time-based medium he himself works in can reveal unforgettably vivid realities that belong wholly to the realm of the imaginary, La Morte Rouge is a great film not only about the power of cinema but about life itself.

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Essay Film by Yelizaveta Moss LAST REVIEWED: 24 March 2021 LAST MODIFIED: 24 March 2021 DOI: 10.1093/obo/9780199791286-0216

The term “essay film” has become increasingly used in film criticism to describe a self-reflective and self-referential documentary cinema that blurs the lines between fiction and nonfiction. Scholars unanimously agree that the first published use of the term was by Richter in 1940. Also uncontested is that Andre Bazin, in 1958, was the first to analyze a film, which was Marker’s Letter from Siberia (1958), according to the essay form. The French New Wave created a popularization of short essay films, and German New Cinema saw a resurgence in essay films due to a broad interest in examining German history. But beyond these origins of the term, scholars deviate on what exactly constitutes an essay film and how to categorize essay films. Generally, scholars fall into two camps: those who find a literary genealogy to the essay film and those who find a documentary genealogy to the essay film. The most commonly cited essay filmmakers are French and German: Marker, Resnais, Godard, and Farocki. These filmmakers are singled out for their breadth of essay film projects, as opposed to filmmakers who have made an essay film but who specialize in other genres. Though essay films have been and are being produced outside of the West, scholarship specifically addressing essay films focuses largely on France and Germany, although Solanas and Getino’s theory of “Third Cinema” and approval of certain French essay films has produced some essay film scholarship on Latin America. But the gap in scholarship on global essay film remains, with hope of being bridged by some forthcoming work. Since the term “essay film” is used so sparingly for specific films and filmmakers, the scholarship on essay film tends to take the form of single articles or chapters in either film theory or documentary anthologies and journals. Some recent scholarship has pointed out the evolutionary quality of essay films, emphasizing their ability to change form and style as a response to conventional filmmaking practices. The most recent scholarship and conference papers on essay film have shifted from an emphasis on literary essay to an emphasis on technology, arguing that essay film has the potential in the 21st century to present technology as self-conscious and self-reflexive of its role in art.

Both anthologies dedicated entirely to essay film have been published in order to fill gaps in essay film scholarship. Biemann 2003 brings the discussion of essay film into the digital age by explicitly resisting traditional German and French film and literary theory. Papazian and Eades 2016 also resists European theory by explicitly showcasing work on postcolonial and transnational essay film.

Biemann, Ursula, ed. Stuff It: The Video Essay in the Digital Age . New York: Springer, 2003.

This anthology positions Marker’s Sans Soleil (1983) as the originator of the post-structuralist essay film. In opposition to German and French film and literary theory, Biemann discusses video essays with respect to non-linear and non-logical movement of thought and a range of new media in Internet, digital imaging, and art installation. In its resistance to the French/German theory influence on essay film, this anthology makes a concerted effort to include other theoretical influences, such as transnationalism, postcolonialism, and globalization.

Papazian, Elizabeth, and Caroline Eades, eds. The Essay Film: Dialogue, Politics, Utopia . London: Wallflower, 2016.

This forthcoming anthology bridges several gaps in 21st-century essay film scholarship: non-Western cinemas, popular cinema, and digital media.

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Philip Seymour Hoffman's Sister Remembers Late Actor in Touching Essay 10 Years After His Death

"Even now, when I watch Phil playing these parts in films that now capture a distant past, in roles that have become familiar to us, I can see so much of who he was," his sister, Emily Barr, wrote in a moving tribute to the late actor, who died in February 2014.

Philip Seymour Hoffman's younger sister is honoring the late actor 10 years after his tragic passing.

In an essay published by The Paris Review on Monday, Hoffman's sister, Emily Barr, paid tribute to the Oscar winner, who passed away from a heroin overdose in 2014 at the age of 46. Barr opened up about their relationship growing up, her brother's love of reading and film, and of course, Hoffman's iconic career and legacy.

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"I could swear that Phil based much of his acting technique on watching Gene Wilder scenes like this over and over as a kid," she wrote. "The physical comedy is subtle in that the main character is unaware of his buffoonery -- only the audience is in on the joke. Phil did this a lot: we would know that something was up, but the character himself was often clueless."

"This was true both of Phil’s comedic scenes and more dramatic ones," she continued, before referencing some of her brother's most famous roles. "Sandy Lyle sharting at the party in Along Came Polly , Scotty J. trying to kiss Mark Wahlberg's character in Boogie Nights , and the CIA agent Gust Avrakotos smashing the window in Charlie Wilson's War . All three characters possess the same loud, obnoxious physicality."

"And then you see it in more nuanced ways, like when the brother in The Savages sneaks a cookie before the support group meeting is over, or when Freddie Miles plucks the piano keys in The Talented Mr. Ripley , or when Truman Capote takes tiny bites from the baby-food jars in Capote, " she added. "

"These gestures brought his characters to life, and made us empathize and identify with their excitement, embarrassment, anger, and heartache," Barr said, adding, "Even now, when I watch Phil playing these parts in films that now capture a distant past, in roles that have become familiar to us, I can see so much of who he was."

Barr, a pediatric nurse practitioner, said her brother "was a cuddly person, much more so than me," writing that he "loved to sit close on a couch, walk arm in arm down the street, and hug big."

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She said Hoffman "had a lot of loud parts," including "his laughter and big gestures of annoyance."

"The way he would jump up and dance around when teasing you -- even after you’d pleaded for him to stop, he just couldn’t help poking fun one last time," Barr wrote. "He knew it was wrong, but he was going to do it anyway, and laugh until you were laughing too. And then do it again, until you weren't laughing, because we Hoffmans are not good at knowing how to stop. We know when to stop, we can tell the mood has shifted, but we always take things one step too far."

In her essay, Barr discussed her and her brother's love of reading, and how they would visit their local public library in Rochester, New York, where they grew up. She wrote that she visited the Rochester Public Library in the wake of Hoffman's death, and "scoured the library shelves for every periodical that even mentioned him."

"Here were the final magazine stories detailing his life cut short. At first, I just wanted to be sure I collected all the glowing obituaries reviewing the life and unexpected death of this talented young actor who mesmerized us with his art," Barr explained. "But then I became obsessive. Even the weekly TV Guide put his name in the crossword: 15 down, twenty letters, 'Oscar overdose.' I added it to my pile."

She said the librarian told her that the magazines will get "cut up by little kids" or "recycled." When Barr asked if "someone wanted to keep them when the library was done with them," the library told her, "We can't do that. It’s just too hard to keep track of requests like this."

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Barr said she took matters into her own hands. While she wrote that she didn't want to read the articles about her late brother herself, she "didn't want children cutting them up in class next year."

"More importantly, I didn't want one of my children to be sitting in art class and get handed one of these magazines and open it up to see their uncle Phil," she added.

Barr shared that she checked out all of the magazines, took them home, and "sat on the floor and cut all the articles and photos of Phil out of each magazine." She then "tucked all of the clippings into an old cigar box," and "returned the cut-up magazines to the library, slipping them into the book deposit slot and hoping the cameras wouldn't catch" her.

While walking home from the library, Barr thought about what her brother would think about what she did.

"Phil would think I was ridiculous for doing all this," she wrote. "He'd wrap his big arm around me, and we would walk a little quicker as the temperature dropped and the sun set lower in the sky."

"We would talk, like when we were kids, imagining the story of Encyclopedia Brown trying to solve The Case of the Vanishing Actor , which takes place in a library with a small wooden door," she concluded.

Read Barr's full tribute, here .

Hoffman passed away on February 2, 2014. He was 46. In addition to Barr, he is also survived by his sister, Emily, his partner, Mimi O'Donnell, and their three children: Cooper, Tallulah, and Willa.

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6 Common Leadership Styles — and How to Decide Which to Use When

• Rebecca Knight

Being a great leader means recognizing that different circumstances call for different approaches.

Research suggests that the most effective leaders adapt their style to different circumstances — be it a change in setting, a shift in organizational dynamics, or a turn in the business cycle. But what if you feel like you’re not equipped to take on a new and different leadership style — let alone more than one? In this article, the author outlines the six leadership styles Daniel Goleman first introduced in his 2000 HBR article, “Leadership That Gets Results,” and explains when to use each one. The good news is that personality is not destiny. Even if you’re naturally introverted or you tend to be driven by data and analysis rather than emotion, you can still learn how to adapt different leadership styles to organize, motivate, and direct your team.

Much has been written about common leadership styles and how to identify the right style for you, whether it’s transactional or transformational, bureaucratic or laissez-faire. But according to Daniel Goleman, a psychologist best known for his work on emotional intelligence, “Being a great leader means recognizing that different circumstances may call for different approaches.”

• RK Rebecca Knight is a journalist who writes about all things related to the changing nature of careers and the workplace. Her essays and reported stories have been featured in The Boston Globe, Business Insider, The New York Times, BBC, and The Christian Science Monitor. She was shortlisted as a Reuters Institute Fellow at Oxford University in 2023. Earlier in her career, she spent a decade as an editor and reporter at the Financial Times in New York, London, and Boston.

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