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Horizon: An American Saga - Chapter 1

Robert daniels.

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‘IF’ Review: Invisible Friends, but Real Celebrity Cameos

The film is a slim story about a girl named Bea (Cailey Fleming) who helps a crank named Cal (Ryan Reynolds) play matchmaker. Oh, and Bradley Cooper is a glass of ice water.

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By Amy Nicholson

The big “IF” — as in “imaginary friend” — in John Krasinski’s treacly kids dramedy is a grizzly-sized purple goon who goes by the name Blue. The boy who conjured him was colorblind, he explains. Blue (voiced by Steve Carell) is one of dozens of dreamed-up creatures in Brooklyn who long for their now-grown BFFs to remember they exist.

At the Memory Lane Retirement Community underneath Coney Island, there’s also a pink alligator (Maya Rudolph), a superhero dog (Sam Rockwell), a worn teddy (Louis Gossett Jr.), a retro cartoon butterfly (Phoebe Waller-Bridge), a robot (Jon Stewart), an astronaut (George Clooney), a glass of ice water (Bradley Cooper), a gummy bear (Amy Schumer), a unicorn (Emily Blunt), a flower (Matt Damon), a cat in an octopus costume (Blake Lively), a ghost (Matthew Rhys), a soap bubble (Awkwafina), some green slime (Keegan-Michael Key), and an invisible blob who the credits claim is none other than Brad Pitt.

What’s more impressive: Krasinski’s imagination or the very real friends in his Rolodex?

Most of these characters merely stroll through the frame to say hello, or whine to each other in group therapy. Yet these celebrity cameos take up about as much space as the plot, a gentle, slim story about an unflappable 12-year-old girl named Bea (Cailey Fleming) who helps a crank named Cal (Ryan Reynolds) play matchmaker for the lonely IFs.

If — and this is a rhetorical if — you’re still traumatized by the last shot of Bing Bong, the forgotten imaginary friend in Pixar’s “Inside Out,” breathe easy. There’s no existential threat (or narrative tension) about what might happen if the goofy gang remains consigned to oblivion. Palling about with kids again just sounds nice.

Bea, a solemn preteen with stick-straight hair, is the only child able to see all of the IFs, which is hard to reconcile with the fact that she also seems like the oldest little girl in the world; Reynolds, her foil, is regularly cast as the world’s most immature man, although here he’s been dialed down to a benevolent grouch. With her mother dead, her father (Krasinski) in the hospital, and her grandmother (Fiona Shaw) distracted watching Jimmy Stewart’s “Harvey” on TV, Bea is free to roam the streets of New York — which, to the fellow kids in the audience, might be as extraordinary as all of the shots of her strolling slowly through bedazzled fantasies. (The standout, odd as it sounds, is a musical number set to Tina Turner’s “Better Be Good to Me,” that’s wholly divorced from its erotic context.)

Any child over 5 will predict the Keyser Söze twist in Bea and Cal’s relationship. But this is a film that spells out its intentions for an audience still learning its ABCs, a film where Michael Giacchino’s misty violins never stop insisting how to feel, where Krasinski’s goofy dad literally wears a heart on his chest.

Krasinski has the worthy goal of making a children’s movie with an air of prestige — like his characters, he’s striving to be remembered long past opening weekend — and so the cinematographer Janusz Kaminski obligingly fills the screen with handsome images of spiral staircases and leather-bound books. Still, only two scenes accomplish the transcendence Krasinski is after, and both involve the simplest of all special effects: a shot of an adult human being that asks us to use our own imaginations to see the child inside.

IF Rated PG. Running time: 1 hour 44 minutes. In theaters.

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‘horizon: an american saga — chapter one’ review: kevin costner gets thrown from his horse in muddled western epic.

The director stars alongside Sienna Miller, Sam Worthington, Jena Malone and Luke Wilson in the opener of a quartet of films about the settlement of the American West.

By David Rooney

David Rooney

Chief Film Critic

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What’s most perplexing coming from Costner is the uncomfortably long time the film takes to show sensitivity toward its Indigenous characters. We’re well into Horizon before the perspective on Native resistance is broadened to acknowledge that their murderous attacks on new settlements are a direct response to the occupation of their ancestral lands. It’s very confusing to see a Western in 2024 and find yourself thinking, “Wait, so American Indians are the bad guys again?”

The blustery notes of John Debney’s score over the opening title card announce that we’re about to watch A Work of Great Importance. It begins in Arizona’s San Pedro Valley in 1859, as three surveyors, one of them just a boy, hammer stakes into the ground to mark a plot of riverside land. Two Indigenous kids observing from the rocky hills wonder what the white folks are doing and why they have come. The two adult Native brothers who appear shortly after, Pionsenay (Owen Crow Shoe) and Taklishim (Tatanka Means), are not so much curious as simmering with rage.

The action then jumps to Montana Territory, where Lucy ( Jena Malone ) empties a rifle into James Sykes (Charles Halford), a man who has clearly wronged her, then takes off with their infant son. The dead man’s tough family matriarch (Dale Dickey) sends her two sons, Caleb (Jamie Campbell Bower) and Junior (Job Beavers), to dole out retribution and bring back her grandchild. One is a hotheaded idiot, the other smarter and more controlled, plus he can rock a silver wolf stole.

Meanwhile, back at the river, the new township of Horizon — advertised on widely distributed handbills — has sprung up directly across from those three graves. But any sense of security is instantly erased when Pionsenay and Taklishim lead a deadly ambush. Acting against the advice of their father (Gregory Cruz), an elder of the White Mountain Apache tribe who warns of the inevitable cycle of violence, they kill any settlers unable to get to safety and torch structures that have only just been erected.

In the movie’s most visceral sequence, the tribesmen close in on the home of the Kittredge family. Along with a handful of community members who have gone there for shelter, the father, James (Tim Guinee), and teenage son Nate (the director’s son Hayes Costner) try to hold off the attackers while the mother Frances ( Sienna Miller ) and daughter Lizzie (Georgia MacPhail) hide out in a hatch under the floorboards.

Working from a discursive screenplay he co-wrote with Jon Baird, Costner is not at his best as a director with this kind of multi-branched narrative. He struggles to keep all the story’s plates spinning, as characters are sidelined and resurface with too little connective tissue.

It’s almost an hour into the film before Costner appears as Hayes Ellison, a taciturn loner described by one of the Sykes boys as a “saddle tramp.” The role allows Kev to go full Clint, conveying the inner conflict of a troubled man wishing to leave violence behind but skilled enough with a firearm to handle it when provoked. Presumably, the character will reveal more layers and maybe a backstory in Chapter Two.

Hayes is the figure who begins to tie things together when he ambles into a small township and catches the eye of Marigold (Abbey Lee), who turns tricks to get by and babysits for Lucy, now going by Ellen and married to good-natured Walter Childs (Michael Angarano). Marigold is an annoying character — dumb, whiny, opportunistic — and it’s a slight stretch that a man as careworn and solitary as Hayes would be suckered into helping her, putting them both in danger. The unconvincing performance of Lee does nothing to make Marigold more palatable.

Despite the harsh conditions and extreme danger involved in the expansion of the West, wagon trains of new settlers keep coming. Traveling with one of them is military captain Matthew Van Weyden ( Luke Wilson ), who lands the exasperating job of de facto leader, dealing with disputes and ensuring that everyone contributes to the workload. That comes as a surprise to a couple of over-educated but clueless Brits begging to be scalped, Juliette (Ella Hunt) and Hugh (Tom Payne).

Any of these plotlines might have sustained an hour of compelling television but they don’t add up to much in this awkwardly stitched quilt, which rarely provides the space for anyone’s experiences to resonate. That also limits the scope for the actors to breathe much dimensionality into their roles. Dialogue-driven scenes often feel stilted and lifeless; the characters played by Costner, Worthington, Miller and Malone at this point show the most potential.

The subtitle An American Saga and some easy guesswork suggest that as Horizon continues the project will become a broad-canvas picture of frontier life and its challenges, of the constant threat of outlaws and Indigenous attack, and the injustices toward Natives that indelibly stained the soil of the West with blood. Hopefully, it will also acquire some much-needed structure.

For many Western lovers of a certain age, Costner in a form-fitting role will be a reassuring presence. He was never an actor with the broadest range, but always appealing — even when he arrives late, as he does here, and remains on the glum side. Just don’t build up your hopes too much.

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'if' only these imaginary friends are sweet, but could have been so much more.

Bob Mondello

Bea (Cailey Fleming) and Blue (voiced by Steve Carell) in IF. Paramount Pictures hide caption

Bea (Cailey Fleming) and Blue (voiced by Steve Carell) in IF.

The third installment in John Krasinski's blockbuster horror franchise A Quiet Place will soon employ noise-triggered monsters to scare audiences shoutless. But the filmmaker is starting the summer with sweeter monsters — the sweetest, really — in IF .

Which doesn't mean they don't cause 12-year-old Bea ( Walking Dead's Cailey Fleming) to faint right away the first time she sees them — though in fairness, she's got a lot on her mind. Having already lost her mom to cancer, she's moving in with her grandma for a bit while her dad's in the hospital awaiting surgery.

Still, when wouldn't encountering a giant plush critter in the apartment upstairs be startling, even if he turns out to be a sweetheart voiced by Steve Carell? It's an imaginary friend (an "IF," in his parlance) of a kid who's long forgotten about him — and who, being colorblind, named him "Blue" even though he's purple.

Also up there is Blossom (voiced by Phoebe Waller-Bridge), a life-size ballerina doll, and the apartment's harried resident, Cal (Ryan Reynolds), the only person besides Bea who seems able to see IFs.

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Actor john krasinski takes stock of his 'lottery-ticket life'.

Bea has been trying to be very grown up for her dad, played by director Krasinski. When she visits him at the hospital, he starts dancing with his I.V. pole and cracking jokes, and she has to tell him to dial things back a bit. As the film goes on, you may be tempted to echo that with regard to his directing, but things are certainly lively as the IFs explain that they've started a matchmaking agency to help fellow imaginary friends find new kids. Bea volunteers to help, and is soon introduced to a whole lot of critters – unicorns, dragons, even a flaming marshmallow — at an IF retirement home in Coney Island.

All of which gives Krasinski an excuse to call in an army of digital animators, first to bring life to imaginary critters voiced by his A-list Hollywood buds, including George Clooney, Awkwafina, Matt Damon, Emily Blunt, Jon Stewart, Steve Carell, and the late Lou Gossett Jr. in a warmly avuncular turn as a supervising teddy bear. And then to make the walls and floors of the retirement home morph and flip as if they're just so many pixels.

Listen Carefully: The Tense 'Quiet Place' Sequel Speaks To Our Present Time

At which point, if you're like me, you may start wanting something a little more solid to hold onto — like, say, a plot that holds up, or even that just holds still. This one jumps around as much as the IFs themselves, at first linking them to new kids, then to their now-grown-up original kids, with little logic, and less explanation.

Along the way, some intriguing issues are raised — about wanting to return to childhood, about growing out of childhood, and about dealing with loss.

But mostly the filmmakers detour, decorate and digitize their story rather than telling it, and that doesn't mesh well with the real-world stuff — dad's surgery, for instance, and Bea's wandering all over Brooklyn without her grandma seeming to notice. And yes, I know: IF is a kid-flick, but it still needs grounding. We're in Brooklyn, not Willy Wonkaland.

Hidden Brain

Secret friends: tapping into the power of imagination.

Also, star voices and digital wizardry notwithstanding, IF 's IFs feel generic, especially when they're stealing focus from the live performers. Grandma, for instance. No filmmaker who has actress Fiona Shaw on screen needs special effects.

Krasinski, in fact, clearly knows that. He's crafted a lovely moment where Bea puts a ballet record – the "Adagio of Spartacus and Phrygia" — on the turntable, and Grandma stands listening to it, bathed in twilight at a window, with her back to the camera. She's remembering the dancer she was as a child, and as the music rises, her right hand does too ... just so. And in that lovely, unforced gesture, you realize all the other things Krasinski's sweet little kid flick might have been ... IF only.

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Kevin costner’s ‘horizon: an american saga’ gets 11-minute ovation at its cannes world premiere, breaking news.

• ‘Rumours’ Review: Guy Maddin’s Smart, Sharp & Quirky Satire Hits The Bullseye For Those Who Have The Giant Brain For It – Cannes Film Festival

By Stephanie Bunbury

Stephanie Bunbury

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Remember the communiqué from the Rambouillet G7 conference back in 1975? Of course they do. Tramping through a wooded estate somewhere in Germany, pursued by the zombie remains of Iron Age chieftains recently exhumed from the grounds of the nearby stately home, the leaders of the world’s richest democracies recite it by heart. What could be more stirring than a well-rounded public announcement that sounds grand, but doesn’t commit anyone to doing anything? A successful joint statement is a work of art.

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Smart, sharp and quirky, Rumours is a more explicitly satirical work that we have come to expect from Canadian director Maddin, the outlier indie who has single-handedly put Winnipeg on the cinematic map. Sylvain, the French president, suggests that each of them embodies certain national characteristics that they could invoke in the document, comparing their negotiations to marriage counseling. He delivers this homily while sitting in a wheelbarrow, being pushed by Cardosa, the British PM — who is determined that work should go on, even as they flee the deserted mansion — after breaking his leg in a fight with a bog man.

Maddin shoots the misty woods and his parade of world leaders making their way through the dark as if he were telling a fairy tale; when Maxime, on one of his lone forays into enemy territory, discovers Célestine ( Alicia Vikander ), the president of the European Union, sitting in a pool of moonlight going through her notes and babbling in Swedish about the dawn of a new era (introduced by the giant brain rather than any miracle of unification wrought by Brussels), it is as if he is meeting a forest fairy. Sometime in the past, Maxime had a tumultuous love affair with Célestine. Maxime seems to have tumultuous episodes with every woman in politics. Even Hilde is driven to seduce him with some sexy talk about encouraging the private sector.

Eccentric as they are, all these characters feel known and familiar, in the way that we might feel we know the real-life politicians constantly in the news, by the time they end up back at the mansion. Antonio is handing out smoked meats filched from the lunch buffet from a store in his pocket. Maxime is still weeping over his numerous lost loves. They have been summoned by a call from an AI bot posing as a lost child – a roving device designed to trap pedophiles, but effectively trapping them too given that they can’t desert a child – and raiding their G7 conference souvenir bags for snacks and space blankets.

Rumours is thick with these kinds of jokes. Anyone with a fascination for political process and the idiocies of bureaucracy will find one joke after another hitting the bullseye. For anyone else, it is mild fun at best: this is a film that, despite its general amiability, seems to divide audiences. But then, only a certain kind of person gets a kick out of the Treaty of Maastricht.

Title:  Rumours Festival:  Cannes (Competition) Distributor: Bleecker Street Directors:  Guy Maddin, Evan Johnson, Galen Johnson Screenwriter:  Evan Johnson Cast:  Cate Blanchett, Roy Dupuis, Nikki Amuka-Bird, Charles Dance, Takehiro Hira, Denis Ménochet, Rolando Ravello, Zlatko Buric, Alicia Vikander Sales agent:  Protagonist Pictures Running time:  1hr 58 min

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'If' movie review: Ryan Reynolds' imaginary friend fantasy might go over your kids' heads

Even with likable youngsters, a vast array of cartoonish characters, various pratfalls and shenanigans, and Ryan Reynolds in non- Deadpool mode, the family comedy “IF” isn’t really a "kids movie" – at least not in a conventional sense.

There’s a refreshing whiff of whimsy and playful originality to writer/director John Krasinski’s bighearted fantasy (★★½ out of four; rated PG; in theaters Friday), which centers on a young girl who discovers a secret world of imaginary friends (aka IFs). What it can’t find is the common thread of universal appeal. Yeah, children are geared to like any movie with a cheery unicorn, superhero dog, flaming marshmallow with melting eye and assorted furry monsters. But “IF” features heady themes of parental loss and reconnecting with one’s youth, plus boasts a showstopping dance set to Tina Turner , and that all leans fairly adult. Mash those together and the result is akin to a live-action Pixar movie without the nuanced execution.

Twelve-year-old Bea (Cailey Fleming) doesn’t really think of herself as a kid anymore. Her mom died of a terminal illness, and now her dad (Krasinski) is going into the hospital for surgery to fix his “broken heart,” so she’s staying with her grandma (Fiona Shaw) in New York City.

When poking around her new environment, Bea learns she has the ability to see imaginary friends. And she’s not the only one: Bea meets charmingly crusty upstairs neighbor Cal (Reynolds) as well as his IF pals, like spritely Blossom (voiced by Phoebe Waller-Bridge) and overly sensitive purple furry monster named Blue (Steve Carell). They run a sort of matchmaking agency to connect forgotten IFs whose kids have outgrown them with new children in need of their companionship, and Bea volunteers to help out.

'Welcome to Wrexham': Ryan Reynolds talks triumph, joy and loss of new season

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Bea is introduced to an IF retirement community located under a Coney Island carousel with a bevy of oddball personalities in the very kid-friendly middle section of the movie. “IF” low-key has the most starry supporting cast of any movie this summer because of all the A-listers voicing imaginary friends, an impressive list that includes Emily Blunt and Sam Rockwell as the aforementioned unicorn and superdog, Matt Damon as a helpful sunflower, George Clooney as a spaceman, Amy Schumer as a gummy bear and Bradley Cooper as an ice cube in a glass. (It's no talking raccoon, but it works.)

One of the movie's most poignant roles is a wise bear played by Louis Gossett Jr. in one of his final roles. Rather than just being a cameo, he’s nicely central to a key emotional scene.

While the best family flicks win over kids of all ages, “IF” is a film for grown-ups in PG dressing. The movie is amusing but safe in its humor, the overt earnestness overshadows some great bits of subversive silliness, and the thoughtful larger narrative, which reveals itself by the end to be much more than a story about a girl befriending a bunch of make-believe misfits, will go over some little ones’ heads. Tweens and teens, though, will likely engage with or feel seen by Bea’s character arc, struggling to move into a new phase of life while being tied to her younger years – not to mention worrying about her dad, who tries to make light of his medical situation for Bea.

Reynolds does his part enchanting all ages in this tale of two movies: He’s always got that irascible “fun uncle” vibe for kids, and he strikes a fun chemistry opposite Fleming that belies the serious stuff “IF” digs into frequently. But unless your child is into old movies, they probably won’t get why “Harvey” is playing in the background in a scene. And when “IF” reaches its cathartic finale, some kiddos might be wondering why their parents are sniffling and tearing up – if they're still paying attention and not off playing with their own imaginary friend by then.

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A Certified Fresh movie or TV season whose score drops and remains consistently below 70% will lose the Certified Fresh designation. The certification removal might not happen as soon as the score drops below 70%; as with CF designation, removal will take place when the score settles.

A movie or TV season that loses Certified Fresh status can regain it by reaching a consistent score of 75% or more and meeting the other minimum requirements.

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The Audience Score, denoted by a popcorn bucket, represents the percentage of users who have rated a movie or TV show positively. With films for which we can verify users have bought a ticket, the default Audience Score we show is made up of “Verified Ratings,” which represents the percentage of users who have rated a movie or TV show positively who we can verify bought a ticket; it is displayed once enough of those Verified Ratings are in to form a score. For all other titles, we display an “All Audience Score” that includes ratings from people regardless of whether or not we can currently verify they have seen the movie or show. Titles eligible for Verified Ratings have an All Audience Score, too: To see it, just click on the popcorn bucket and you can toggle between both the Verified Audience Score and the All Audience Score. You can read more about recent changes to the score box HERE .

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‘The Garfield Movie’ Review: Beloved Feline Loses His Sarcastic Growl in Product Placement-Heavy Origin Story

Chris Pratt voices the famed orange tabby in a generic, if pleasantly animated narrative that misunderstands the characteristics that make Jim Davis’ Garfield a singularly attractive character.

By Carlos Aguilar

Carlos Aguilar

• ‘The Garfield Movie’ Review: Beloved Feline Loses His Sarcastic Growl in Product Placement-Heavy Origin Story 3 hours ago
• ‘Thelma the Unicorn’ Review: Brittany Howard Voices a Pony with Dreams of Fame in Unexceptional Netflix Toon 2 days ago
• ‘Mars Express’ Review: Thrilling Cyberpunk Mystery Warns of a Future Conflict Between Humans and AI 2 weeks ago

The lasagna-obsessed feline with a near-pathological aversion to Mondays, who first came into popular consciousness in the late ‘70s as a comic strip, is a diluted version of himself in “ The Garfield Movie .” Not only is his suave apathy mostly replaced by an excessive excitedness with only sporadic glimpses of his endearingly negative qualities, but this Garfield jumps off trains, stages a heist, and is subjected to trite physical comedy by way of numerous predictable action sequences. The ordeal mimics a rehashed plot from the dull “The Secret Life of Pets” franchise with Garfield forcefully plugged in.

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Devised to function as an origin story, “The Garfield Movie” introduces Vic (Samuel L. Jackson), the father who, in this interpretation of his story, abandoned Garfield as a kitten. The burly cat, who doesn’t exist in this form in other “Garfield” media, reappears in his life when a cookie-cutter villain, Jinx (Hannah Waddingham) and her equally unoriginal dog henchmen coerce him to steal over 1000 gallons of milk from a dairy farm/theme park.

The demand serves as retribution for the time Jinx spend in the pound after a failed robbery with Vic. The screenwriters (Paul A. Kaplan, Mark Torgove, and David Reynolds) further burden the narrative by spending multiple scenes and even flashbacks (done in an interesting 2D, illustration style) on supporting characters that feel superimposed to elicit emotional resonance. The main culprit is Otto (Ving Rhames), a self-possessed bull banished from the farm and unable to see his beloved cow girlfriend.

In defense of director Mark Dindal, who helmed Disney’s “The Emperor’s New Groove” and “Chicken Little,” and his animation team, the cartoony facial expressions and realistic fur in this Garfield find an aesthetically pleasing middle ground between his hand-drawn version and those done in CGI for the big screen adventures and later for a late 2000s-2010s TV program “The Garfield Show.” The graphic look of “The Garfield Movie” calls to mind how the now defunct studio BlueSky approached their adaptation of the “Peanuts” characters. Caught in the nonstop boisterousness that consumes most of the running time, one could easily forget that the opening sequence, which benefits from limited lines, where an adorable, big-eyed baby Garfield first meets John is an engaging departure point. If only the creators would have stuck with the quotidian tribulations that best befit Garfield rather than opting for high-stakes stunts that betray him. The result is more a generic product in search of fleeting mass appeal than a work invested in Garfield as a unique character.

Reviewed at the TCL Chinese Theatre, May 19, 2024. Running time: 101 MIN.

• Production: Columbia Pictures, Alcon Entertainment, Double Negative, One Cool Group, Paws, Prime Focus, Stars Collective Films Entertainment Group, Wayfarer Studios. Producers: John Cohen, Broderick Johnson, Andrew A. Kosove, Namit Malhotra, Craig Sost, Steven P. Wegner.
• Crew: Director: Mark Dindal. Screenplay: Paul A. Kaplan, Mark Torgove, David Reynolds. Editor: Mark Keefer. Music: John Debney.
• With: Chris Pratt, Samuel L. Jackson, Nicholas Hoult, Hannah Waddingham, Ving Rhames, Cecily Strong, Harvey Guillén, Brett Goldstein, Bowen Yang, Snoop Dogg, Dev Joshi.

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How to Write a Movie Review

Last Updated: May 13, 2024 Fact Checked

This article was co-authored by Marissa Levis . Marissa Levis is an English Teacher in the Morris County Vocational School District. She previously worked as an English director at a tutoring center that caters to students in elementary and middle school. She is an expert in creating a curriculum that helps students advance their skills in secondary-level English, focusing on MLA formatting, reading comprehension, writing skills, editing and proofreading, literary analysis, standardized test preparation, and journalism topics. Marissa received her Master of Arts in Teaching from Fairleigh Dickinson University. There are 14 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 5,610,466 times.

Whether a movie is a rotten tomato or a brilliant work of art, if people are watching it, it's worth critiquing. A decent movie review should entertain, persuade and inform, providing an original opinion without giving away too much of the plot. A great movie review can be a work of art in its own right. Read on to learn how to analyze a movie like a professional film critic, come up with an interesting thesis, and write a review as entertaining as your source material.

Sample Movie Reviews

Writing an Intro for a Movie Review

• Comparison to Relevant Event or Movie: "Every day, our leaders, politicians, and pundits call for "revenge"– against terrorist groups, against international rivals, against other political parties. But few of them understand the cold, destructive, and ultimately hollow thrill of revenge as well as the characters of Blue Ruin. "
• Review in a nutshell: "Despite a compelling lead performance by Tom Hanks and a great soundtrack, Forrest Gump never gets out of the shadow of its weak plot and questionable premise."
• Context or Background Information: " Boyhood might be the first movie made where knowing how it was produced–slowly, over 12 years, with the same actors–is just as crucial as the movie itself."

• Using stars, a score out of 10 or 100, or the simple thumbs-up and thumbs-down is a quick way to give your thoughts. You then write about why you chose that rating.
• Great Movie: ABC is the rare movie that succeeds on almost every level, where each character, scene, costume, and joke firing on all cylinders to make a film worth repeated viewings."
• Bad Movie: "It doesn't matter how much you enjoy kung-fu and karate films: with 47 Ronin, you're better off saving your money, your popcorn, and time."
• Okay Movie: "I loved the wildly uneven Interstellar far more than I should have, but that doesn't mean it is perfect. Ultimately, the utter awe and spectacle of space swept me through the admittedly heavy-handed plotting and dialogue."

• Great: "Michael B. Jordan and Octavia Spencer's chemistry would carry Fruitvale Station even if the script wasn't as good. The mid-movie prison scene in particular, where the camera never leaves their faces, shows how much they can convey with nothing but their eyelids, the flashing tension of neck muscles, and a barely cracking voice."
• Bad: " Jurassic World's biggest flaw, a complete lack of relatable female characters, is only further underscored by a laughably unrealistic shot of our heroine running away from a dinosaur – in heels."
• Okay: "At the end of the day, Snowpiercer can't decide what kind of movie it wants to be. The attention to detail in fight scenes, where every weapon, lightbulb, and slick patch of ground is accounted for, doesn't translate to an ending that seems powerful but ultimately says little of substance."

• Does the film reflect on a current event or contemporary issue? It could be the director's way of engaging in a bigger conversation. Look for ways to relate the content of the film to the "real" world.
• Does the film seem to have a message, or does it attempt to elicit a specific response or emotion from the audience? You could discuss whether or not it achieves its own goals.
• Does the film connect with you on a personal level? You could write a review stemming from your own feelings and weave in some personal stories to make it interesting for your readers.

Composing Your Review

• When you name characters in your plot summary, list the actors' names directly afterward in parenthesis.
• Find a place to mention the director's name and the full movie title.
• If you feel you must discuss information that might "spoil" things for readers, warn them first.

• Cinematography: " Her is a world drenched in color, using bright, soft reds and oranges alongside calming whites and grays that both build, and slowly strip away, the feelings of love between the protagonists. Every frame feels like a painting worth sitting in."
• Tone: "Despite the insane loneliness and high stakes of being stuck alone on Mars, The Martian's witty script keeps humor and excitement alive in every scene. Space may be dangerous and scary, but the joy of scientific discovery is intoxicating."
• Music and Sound: " No Country For Old Men's bold decision to skip music entirely pays off in spades. The eerie silence of the desert, punctuated by the brief spells of violent, up-close-and-personal sound effects of hunter and hunted, keeps you constantly on the edge of your seat."
• Acting: "While he's fantastic whenever he's on the move, using his cool stoicism to counteract the rampaging bus, Keanu Reeves can't quite match his costar in the quiet moments of Speed, which falter under his expressionless gaze."

• Keep your writing clear and easy to understand. Don't use too much technical filmmaking jargon, and make your language crisp and accessible.
• Present both the facts and your opinion. For example, you might state something such as, "The Baroque background music was a jarring contrast to the 20th century setting." This is a lot more informative then simply saying, "The music was a strange choice for the movie."

• Great: "In the end, even the characters of Blue Ruin know how pointless their feud is. But revenge, much like every taut minute of this thriller, is far too addictive to give up until the bitter end.""
• Bad: "Much like the oft-mentioned "box of chocolates", Forest Gump has a couple of good little morsels. But most of the scenes, too sweet by half, should have been in the trash long before this movie was put out."
• Okay: "Without the novel, even revolutionary concept, Boyhood may not be a great movie. It might not even be "good.” But the power the film finds in the beauty of passing time and little, inconsequential moments – moments that could only be captured over 12 years of shooting – make Linklater's latest an essential film for anyone interested in the art of film."

Polishing Your Piece

• Ask yourself whether your review stayed true to your thesis. Did your conclusion tie back in with the initial ideas you proposed?
• Decide whether your review contains enough details about the movie. You may need to go back and add more description here and there to give readers a better sense of what the movie's about.
• Decide whether your review is interesting enough as a stand-alone piece of writing. Did you contribute something original to this discussion? What will readers gain from reading your review that they couldn't from simply watching the movie?

Studying Your Source Material

• The title of the film, and the year it came out.
• The director's name.
• The names of the lead actors.

• Make a note every time something sticks out to you, whether it's good or bad. This could be costuming, makeup, set design, music, etc. Think about how this detail relates to the rest of the movie and what it means in the context of your review.
• Take note of patterns you begin to notice as the movie unfolds.
• Use the pause button frequently so you make sure not to miss anything, and rewind as necessary.

• Direction: Consider the director and how he or she choose to portray/explain the events in the story. If the movie was slow, or didn't include things you thought were necessary, you can attribute this to the director. If you've seen other movies directed by the same person, compare them and determine which you like the most.
• Cinematography: What techniques were used to film the movie? What setting and background elements helped to create a certain tone?
• Writing: Evaluate the script, including dialogue and characterization. Did you feel like the plot was inventive and unpredictable or boring and weak? Did the characters' words seem credible to you?
• Editing: Was the movie choppy or did it flow smoothly from scene to scene? Did they incorporate a montage to help build the story? And was this obstructive to the narrative or did it help it? Did they use long cuts to help accentuate an actor's acting ability or many reaction shots to show a group's reaction to an event or dialogue? If visual effects were used were the plates well-chosen and were the composited effects part of a seamless experience? (Whether the effects looked realistic or not is not the jurisdiction of an editor, however, they do choose the footage to be sent off to the compositors, so this could still affect the film.)
• Costume design: Did the clothing choices fit the style of the movie? Did they contribute to the overall tone, rather than digressing from it?
• Set design: Consider how the setting of the film influenced its other elements. Did it add or subtract from the experience for you? If the movie was filmed in a real place, was this location well-chosen?
• Score or soundtrack: Did it work with the scenes? Was it over/under-used? Was it suspenseful? Amusing? Irritating? A soundtrack can make or break a movie, especially if the songs have a particular message or meaning to them.

Expert Q&A

• If you don't like the movie, don't be abusive and mean. If possible, avoid watching the movies that you would surely hate. Thanks Helpful 0 Not Helpful 0
• Understand that just because the movie isn't to your taste, that doesn't mean you should give it a bad review. A good reviewer helps people find movie's they will like. Since you don't have the same taste in movies as everyone else, you need to be able to tell people if they will enjoy the movie, even if you didn't. Thanks Helpful 0 Not Helpful 0
• Structure is very important; try categorizing the different parts of the film and commenting on each of those individually. Deciding how good each thing is will help you come to a more accurate conclusion. For example, things like acting, special effects, cinematography, think about how good each of those are. Thanks Helpful 0 Not Helpful 0

You Might Also Like

Expert Interview

Thanks for reading our article! If you’d like to learn more about writing, check out our in-depth interview with Marissa Levis .

• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_film/terminology_and_starting_prompts.html
• ↑ https://www.spiritofbaraka.com/how-write-a-movie-review
• ↑ https://www.nyfa.edu/student-resources/9-tips-for-writing-a-film-review/
• ↑ https://en.oxforddictionaries.com/writing-help/top-tips-for-writing-a-review
• ↑ https://writingcenter.unc.edu/tips-and-tools/summary-using-it-wisely/
• ↑ https://twp.duke.edu/sites/twp.duke.edu/files/file-attachments/film-review-1.original.pdf
• ↑ https://www.dailywritingtips.com/7-tips-for-writing-a-film-review/
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_film/film_writing_sample_analysis.html
• ↑ https://learning.hccs.edu/faculty/onnyx.bei/dual-credit/movie-review-writing-guide
• ↑ https://writingcenter.unc.edu/tips-and-tools/conclusions/
• ↑ https://www.grammarly.com/blog/how-to-write-a-movie-review/
• ↑ https://gustavus.edu/writingcenter/handoutdocs/editing_proofreading.php
• ↑ https://writingcenter.unc.edu/tips-and-tools/editing-and-proofreading/
• ↑ https://edusson.com/blog/how-to-write-movie-review

About This Article

To write a movie review, start with a compelling fact or opinion to hook your readers, like "Despite a great performance by Tom Hanks, Forrest Gump never overcomes its weak plot." Then, elaborate on your opinion of the movie right off the bat so readers know where you stand. Once your opinion is clear, provide examples from the movie that prove your point, like specific scenes, dialogue, songs, or camera shots. To learn how to study a film closely before you write a review, scroll down! Did this summary help you? Yes No

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John Krasinski’s ‘IF’ hits a box office nerve with $35 million debut

Cailey Fleming, left, and John Krasinski pose with the character “Blue” at the premiere of Paramount Pictures’ “IF” at the SVA Theatre on Monday, May 13, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Ryan Reynolds poses with the character “Blue” at the premiere of Paramount Pictures’ “IF” at the SVA Theatre on Monday, May 13, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

John Krasinski, left, and Ryan Reynolds attend the premiere of Paramount Pictures’ “IF” at the SVA Theatre on Monday, May 13, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Emily Blunt, left, and John Krasinski pose with the character “Blue” at the premiere of Paramount Pictures’ “IF” at the SVA Theatre on Monday, May 13, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

This image released by Paramount Pictures shows Ryan Reynolds, from left, Cailey Fleming, the character Blue, voiced by Steve Carell, and the Blossom, voiced by Phoebe Waller-Bridge, in a scene from “IF.” (Paramount Pictures via AP)

This image released by Paramount Pictures shows Cailey Fleming, left, and Ryan Reynolds in a scene from “IF.” (Jonny Cournoyer/Paramount Pictures via AP)

This image released by Focus Features shows Marisa Abela as Amy Winehouse in a scene from “Back to Black.” (Focus Features via AP)

Actor Marisa Abela attends the premiere of Focus Features’ “Back to Black” at AMC Lincoln Square on Tuesday, May 14, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

This image released by Amazon Prime shows a scene from the documentary “The Blue Angels.” (Amazon Prime via AP)

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John Krasinski’s imaginary friends movie “IF” claimed the top spot at the box office this weekend according to studio estimates Sunday. Its $35 million North American debut was also a bit lower than some projections.

Is that a disappointment? An ominous sign of the box office times? Or is the final story on “ IF " yet to be written? It’s not just your imagination: In these bumpy early weeks of the 2024 summer box office season, in which nothing has been a runaway hit and every new movie has more and more pressure to succeed, “IF” hit a nerve.

Starring Ryan Reynolds, Cailey Fleming, and an army of A-list voices including Steve Carell, Matt Damon, Emily Blunt, Louis Gossett Jr., Phoebe Waller-Bridge and Maya Rudolph, “IF” was an original idea from Krasinski, who wrote, directed and co-stars.

Paramount debuted the film, which cost a reported $110 million to produce, in 4,041 locations in North America. Internationally, it earned an estimated $20 million from 56 markets, adding up to a $55 million global debut.

“Families came out in force and they loved the film,” said Chris Aronson, who heads Paramount’s domestic distribution.

There are several somewhat contradictory narratives swirling around its performance as well. With its PG-rating, “IF” was the first major family friendly film to open in theaters in weeks. And unlike a front-loaded superhero or horror movie, family pics are often running a marathon not a sprint. Last June, Pixar’s “Elemental” was assumed to be dead on arrival when it opened with $29.5 million domestically. But it continued earning throughout the summer and ultimately made nearly $500 million globally.

“IF” got middling reviews from critics (it’s currently sitting at a “rotten” 49% on Rotten Tomatoes), but, as with “Elemental,” audiences gave it a solid A CinemaScore this weekend. The studio considers it a successful debut and is optimistic about its longevity as summer actually begins for school age children.

“I think it bodes well for moviegoing in general as we move into the summer movie season,” Aronson said. “Kids are out of school starting this coming week and I couldn’t think of a better film to be in the marketplace than this one: It’s new, it’s fresh, its original, and it’s such a heartwarming film.”

“ Kingdom of the Planet of the Apes ” continues to be a bright spot . In just 10 days, it surpassed $100 million domestically and $237 million globally. It came in second place in its second weekend with $26 million (down 55%).

But there also hasn’t been a major movie moment akin to last year’s “The Super Mario Bros. Movie,” “Barbie” or “Oppenheimer” in quite some time. Last year on this weekend “Fast X” opened to over $60 million.

“This is a very unusual summer. It got off to an unusual start without a Marvel movie,” said Paul Dergarabedian, the senior media analyst for Comscore. “The box office has been in a holding pattern 20% down from last year.”

“IF” wasn’t the only new film to open this weekend either. Lionsgate’s horror “The Strangers—Chapter 1” overperformed with a $12 million debut from 2,856 locations. The innovative marketing campaign staged some viral moments by bringing the “strangers” to major events, from the Trump trial to Coachella.

The Amy Winehouse biopic “ Back to Black " opened in North America to an estimated $2.9 million from 2,010 screens.

The filmed-for-IMAX documentary “ The Blue Angels ” also made $1.3 million this weekend from 227 screens. It’s playing on the premium large format screens through May 22 before flying to Prime Video on May 23.

The summer, which for Hollywood begins the first weekend in May , is still getting started and could rev up next weekend with the infusion of “Furiosa: A Mad Max Saga” and “The Garfield Movie.”

Dergarabedian noted that Memorial Day weekend is a time when moviegoers play can play catch up with films they’ve missed and heard about. For a film like “IF,” which picked up over the weekend with word of mouth buzz, that could bode well. Still, there is no sugar-coating the reality that the 2024 box office is not going to build on 2023.

“On almost every level this is a non-traditional summer in the lineup of films and the trajectory of the box office,” Dergarbedian said. “But collectively these films should have a solid Memorial weekend.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “IF,” $35 million.

2. “Kingdom of hte Planet of the Apes,” $26 million.

3. “The Strangers—Chapter 1,” $12 million.

4. “The Fall Guy,” $8.5 million.

5. “Challengers,” $2.9 million.

6. “Back to Black,” $2.9 million.

7. “Tarot,” 2 million.

8. “Godzilla x Kong: The New Empire,” $1.7 million.

9. “The Blue Angels,” $1.3 million.

10. “Unsung Hero,” $1.1 million.

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Best Movies of 2024: Best New Movies to Watch Now

Welcome to our guide of the Best Movies of 2024, featuring every Certified Fresh movie as they come in week by week!

May  additions so far: Kingdom of the Planet of the Apes . Upgraded . The Last Stop in Yuma County . The Fall Guy . The Three Musketeers: Part II – Milady . The Idea of You . Hit Man . 

Horror had an unexpectedly strong month in April , with Universal monster movie Abigail , Nic Cage action-hybrid Arcadian , The First Omen reviving the dormant franchise, and indies I Saw the TV Glow ,  Blackout , and  Infested . A24 had their first #1 box office-debuting film with the heated Civil War . Zendaya continued her Certified Fresh streak with Challengers , and Dev Patel made a major directorial debut with Monkey Man ,  which had its own long journey to go from being dumped on Netflix to theatrical major studio distribution.  Nowhere Special   becomes the highest-rated movie of the year.

In March : Love Lies Bleeding and Problemista , both from A24 . One Life , starring Anthony Hopkins. Ordinary Angels , starring Hilary Swank. In horror, we got You’ll Never Find Me and  Late Night with the Devil , the latter which also tops our best horror of 2024 list . Dialogue-free animation Robot Dreams and Do Not Expect Too Much from the End of the World jockeying for the top spot here.

And what about February ? Dune pretty good, thanks for asking. Part Two went Certified Fresh within an hour after the reviews embargo lifted on February 21st. With it outclassing the first Dune , we took a look at 20 sequels that got better Tomatometer scores than their originals . Otherwise, things got freaky with horror film Stopmotion and the comic zaniness of Hundreds of Beavers taking the crown for the best-reviewed of the year.

We didn’t have a blockbuster January like we did in 2023 ‘s, when genre surprises M3GAN and Plane went Certified Fresh. But Daisy Ridley got her post-Skywalker win with Sometimes I Think About Dying . Mads Mikkelsen re-teamed with his A Royal Affair director Nikolaj Arcel to find The Promised Land. With The Crime Is Mine , Francois Ozon is getting career-best reviews, and his 10th Certified Fresh film over the past decade-and-change. And Netflix scored with The Kitchen , Orion and the Dark , and Good Grief .

Nowhere Special (2020) 100%

LaRoy, Texas (2023) 100%

Robot Dreams (2023) 99%

Do Not Expect Too Much from the End of the World (2023) 99%

The Crime Is Mine (2023) 98%

The Last Stop in Yuma County (2023) 97%

Inside the Yellow Cocoon Shell (2023) 98%

Molli and Max in the Future (2023) 98%

Late Night with the Devil (2023) 97%

Io Capitano (2023) 97%

Tótem (2023) 97%

Infested (2023) 97%

The Promised Land (2023) 96%

Hit Man (2023) 96%

Hundreds of Beavers (2022) 95%

Fitting In (2023) 95%

Música (2024) 95%

Love Lies Bleeding (2024) 94%

Driving Madeleine (2022) 94%

La Chimera (2023) 94%

Femme (2023) 93%

We Grown Now (2023) 93%

The Settlers (2023) 93%

About Dry Grasses (2023) 93%

Housekeeping for Beginners (2023) 93%

Dune: Part Two (2024) 92%

Limbo (2023) 92%

Orion and the Dark (2024) 91%

One Life (2023) 91%

Cabrini (2024) 90%

Stopmotion (2023) 90%

Monkey Man (2024) 89%

Problemista (2023) 88%

The Kitchen (2023) 89%

Challengers (2024) 88%

Disco Boy (2023) 88%

I Saw the TV Glow (2024) 85%

The Beast (2023) 85%

Ordinary Angels (2024) 84%

The Three Musketeers: Part II - Milady (2023) 86%

Abigail (2024) 83%

The Idea of You (2024) 82%

Arcadian (2024) 84%

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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.

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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 →
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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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