movie review conventions

How to Analyse Movies #2: Signs, Codes & Conventions

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In this chapter, we’ll cover the signs, codes and conventions in a film that can tell you a lot about the messages that the creators are trying to convey. Some filmmakers are aware of the use of signs, codes and conventions in their work, though some are not. In that case the symbolism may be there, but not on the surface, which makes it a little harder to interpret.

The study of these signs, codes and conventions in film is called  semiotics , or semiotic analysis . Semiotic analysis is a way to explain how an audience makes meaning from codes. All meaning is encoded in that which  creates  the meaning. No object or word is without meaning – one cannot read or see something without associating it to a certain idea, the meaning. Growing up, everyone has been taught how to decode what they see, read and hear. We have all learned to decode meaning: it’s how we make sense of our surroundings, essentially, of the world.

However, what’s important to realise is that the decoded meaning wasn’t created by the person decoding it, in a vacuum; instead, the meaning already existed. They merely took the signs and applied their pre-existing knowledge. For example, if you read the word “failure”, you decode it by relating it to the value your culture assigns to the concept of failure and its antonym, success. This is why someone from a Western culture might interpret it very differently to someone from an Eastern culture. Although this doesn’t mean we cannot create meaning on our own, but 99% percent of the time, the meaning comes from some pre-established (cultural) notion.

Semiotic analysis is used to “read” (and better understand) a film and its text. It’s mostly used in academic study of film, and dozens of books have been published on the topic, though they’re often pretty dense, and for the casual film viewer, a bit much. The below is a short summary of what semiotics entail, and will help you take the first steps into film analysis.

Semiotic Analysis

The study of these signs, codes and conventions in movies is called  semiotics . Semiotic analysis is a way to explain how we make meaning from codes – all meaning is encoded in that which creates the meaning. No object or word goes without a meaning – we cannot read or see something without associating it to a certain idea – the meaning. In our youths, we have all been taught how to decode what we see, read and hear, we have all learned to decode meaning.

However, what we should realize is that the decoded meaning is not our own idea, but somebody else’s. For example. If you read the word “failure”, you decode it by relating it to the value your culture adheres to the concept of failure and its antonym – success. Although it’s not said we cannot create meaning on our own, 99% percent of the time, the meaning comes from some pre-established (cultural) idea.

Signs and Codes

In semiotic analysis, the smallest units of meaning are  signs .  For example, the way someone dresses is a collection of signs that informs others about the person; clothing encodes the smallest of signs, e.g. a popped collar means preppy. A black band t-shirt and over-sized pants signal a music fan, but together they can create a collection of signs, a code . For example, a band shirt + baggy pants + black nail polish + dyed hair, could signal a rebel, or even a goth.

You could say meaning has two “levels”. On its most basic level, there is the sign : the denotation, which is the  literal meaning. But when a sign occurs in a group, or in a particular context, it becomes a code , and it can suggest or connote extra meaning.

For instance, the colour red simply denotes a colour, but in a certain context it can connote emotion, like anger, or love. These codes are often used in media to reinforce, subtly, the way audiences should think about certain things or how they should behave. These are a culture’s dominant ideologies. For instance, a long-standing cultural ideology is that diamonds (or chocolate) symbolise love and that people should give this to your significant other as proof of their love for the other.

These codes are groups of signs that seem to fit together naturally. Together, they create meaning. To stick to the signs and codes of romance: the sign of a broken heart means lost love, and if you add the broken heart to the signs of two people, the three signs together, the code, anyone will read into it that the couple has broken off their relationship.

Filmic Code

Four types of signs and codes exist in semiotic analysis of film:

Indexical Signs

These are the most basic of signs in film. Indexical signs indirectly point to a certain meaning – they act as cues to existing knowledge. For example, smoke means fire, panting means exercise, a ringing bell means end of class. This type of signs is constantly used in (all types of) media and are very common.

Symbolic Code

Symbolic codes often denote something they have nothing to do with at first glance, but only because the code exists and because we use them society-wide. For instance, the red heart symbolises love, the white dove symbolises peace, the colour green symbolises jealousy.

Iconic Signs and Code

These are the literal signs and codes: a cop means a cop. They are meant to appear like the thing itself. However, they always represent  more  than just the thing itself. When we see a cop, we also associate this with our cultural ideas of “justice” or “the law”, or even masculinity or toughness. These codes also reinforce the ideas we have about these concepts in our culture, it reinforces the ideological meaning of those concepts.

Enigma Code

This is an important type of code used in film: it creates a question which the film “text” will then go on to answer. This is often used in trailers of movies as well as posters. They make people wonder. For example, “who murdered the protagonist”, or “how will they survive the apocalypse”. They pique curiosity and intrigue the viewers, with the intention of making them go see the movie.

Convention is another important concept that you’ll see discussed frequently in film analysis. It indicates the “establishment”, the established way of doing something, or understanding something, or presenting something.

They are the generally accepted norms. It’s behaviour and ideas that we see as natural; they’re so deeply embedded in culture that we’re generally not aware of them, and definitely don’t realise what their effect is, or how they affect us.

In film, conventions are used to represent certain topics, characters and events, and more. When you start to scrutinise these conventions, you’ll find that, often, they are used to shape how we think about a character or event. When it comes to characters, conventions can easily turn into stereotypes.

You’ll find that they don’t always represent reality, and can even be harmful to how audiences perceive the world. A common convention, for instance, is how Muslims are always terrorists, and to state the obvious, that’s not the case in reality. Indians don’t always have thick Indian accents, especially when they were born outside of India. Nonetheless, these are stereotypes you will find in film abundantly.

Other common conventions can be found in how women are portrayed in film. For instance, in film noir , female leads are either the helpless dame in distress, or the femme fatale – there is rarely an in-between.

Nowadays, women are still frequently portrayed as damsels in distress, though while we see more female superheroes, they are generally clad in tight outfits, and their characters are underdeveloped; they are just there to serve the male main character’s plot.

Furthermore, women in film are substantially less frequently portrayed as having a job. These are all conventions that reinforce the convention that women are helpless, frail, and need to be protected by the masculine male. There are exceptions, of course, but you’ll generally have to delve into the realm of indie film to find them.

Another common convention is how the portrayal of good and bad guys. Cops can often get away with killing bad guys without consequences. Or, even more typical, Batman and Superman (in Batman v Superman: Dawn of Justice ) can lay waste to an entire city and kill thousands of innocents, but they’ll still be considered heroes.

Villains, however, are so villainous that they’re evil through and through. These are very black and white conventions and don’t properly represent the great variety of greys in the real world.

Moreover, genre and narrative can add to the sense of convention, like action film or romance, or film noir and superhero as discussed, but a film’s editing or certain shot types too can reinforce conventions (e.g. a close-up of the poor damsel in distress). We’ll discuss these topics in later chapters.

Lastly, I’ll say it again – culture is very important in the way we interpret signs and codes. It is important to realise that culture always determines the meaning a sign or code communicates. Your interpretation of Bollywood film, if you’re from the West, will likely be different to the interpretation of someone from that area of the world.

As with so many things, practicing will make you better at whatever you’re doing. It’s the same for film analysis.

At first, when you’re going to watch a movie with the intention of keeping track of all the signs, codes and symbolism, you’ll be very overwhelmed. There’s so much to keep track of. Instead, why don’t you first watch a movie in its entirety, and try to study its thematic symbolism? This type of symbolism is more overarching and you’ll find the film tries to deliver a “hidden” message as a whole. What is the filmmaker trying to tell you?

As you get better at distilling a film’s overarching message, you can start looking at how they deliver the message, scene by scene. Start looking at more than just the characters -where are they? A movie that may initially be boring to you may get whole new dimensions purely because you are learning to understand it better and differently.

You can go even deeper than that and analyse a film’s semiotics shot by shot, and that leads me to what we’ll cover in the next chapter: mise-en-scène, everything that’s presented in one shot.

What are some of your favorite codes or symbols? Do you often pick up on them or are you usually unaware of them? If you have any questions at all, please let me know in the comments!

Next in How To Analyse Movies:

You’re currently on part 2: Signs, Codes & Conventions Part 1: Introduction Part 3: Mise-en-Scene & Editing Part 4: Considering the Camera Part 5: Lighting, Sound & Score Part 6: Story & Genre Part 7: Iconography & Realisticness Part 8: Putting it into Practice

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Genre Conventions — The Building Blocks of Genre Storytelling

M ost movies can be characterized as being one genre or the other. If the plot involves a love triangle, that’s most likely romance. If the plot is about a space marine, it’s most likely science-fiction. If the plot involves a group of kids running away from a monster, that’s probably horror. The things that make up the conventions of a genre, also known as genre conventions. What are genre conventions, you ask? You’ll soon be getting an answer via definition, along with plenty of examples.

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Genre Conventions Definition

Defining genre conventions.

We want to provide a brief genre conventions definition before really digging into what they mean and how they are utilized. Conventions of a genre can be used in a lot of different ways, so a straightforward understanding of the basic concept is a must.

GENRE CONVENTIONS DEFINITION

What are genre conventions.

Genre conventions are elements, themes, topics, tropes, characters, situations, and plot beats that are common in specific genres. Genre conventions are what make certain stories the genre that they are. This is why conventions of a genre are made up of specific elements, as these are used to create and identify the genres in question.

What are genre conventions characteristics:

• Plot beats and narrative turns that must almost always occur in the genre the story is set in.
• Characters and settings that are staples of the genre (either directly or subtly).
• Tropes and themes that are almost always part of the genre they are being featured and used in.

What are Conventions in Film

Explaining genre conventions.

Genre conventions work best when you are working exclusively inside the genre you have chosen. This means no mixing or blending of other genres and just focusing on what works for the genre you have chosen. A fantasy story will have a dragon, a knight, a princess, a wizard, and more. A romance story will have a person in love with someone, along with a competing suitor for the protagonist’s love, and a happy ending.

Conventions of a genre do not have to be a checklist, but rather a group of themes and topics that make the genre what it is. For example, a romance story must always have a romance at its center, otherwise it isn’t a romance. And if your romance does not end with the couple living happily ever after, you might alienate the very audience you were writing for. Same if you write a Western that isn’t set in the West, doesn’t have a gunslinger, a showdown, or a sunset; you might upset some, if not all, Western fans.

In many ways, genre conventions exist to give the people what they want. Dragons in fantasy, shootouts in Westerns, monsters in horror, and so on. This is also why plenty of writers have made a living making stories in the same genre, as they know what their audience wants. It’s like the old Greek comedies and tragedies; the genre alone should give you the gist of what you’re about to read or watch.

That said, plenty of movies set in specific genres have broke with convention in one way or another, while still clearly being that genre. A tragic romance can still be a success, as can a Western set in a not-so-Western location. And of course, a horror story can be realistic, so long as there are still victims to terrorize. It’s a careful balancing act, but it’s been done before.

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Genre Conventions List

Obeying and defying conventions.

Some classic and well-known movies have played genre conventions straight, while others have successfully defied them.

The Friday the 13th series as a whole has maintained horror genre conventions to the point of parody (as seen in Jason X ). Each film involves a killer coming after a group of youngsters, successfully killing off a lot of them before being defeated by someone (most often the Final Girl who has survived the killer’s attacks).

Where are conventions in film?  •  Friday the 13th

Alien is a classic film that, while mostly horror, is set in outer space. So aside from the setting, its horror genre conventions are played completely straight. There’s a group of people on an isolated freighter who are hunted down by an unknown and frightening monster. In the end, only one crew member remains, and it is up to them to take this monster out for good. You can read our Alien script breakdown for more in-depth analysis on how it balanced sci-fi with horror.

Crime films tend to follow certain paths that cover similar beats and end results. Many of these are either noir , neo-noir, or noir influenced, like Chinatown. One of the very best neo-noirs of all-time , Chinatown follows a detective investigating a mysterious murder. Like all crime stories, he follows clues before falling into serious danger himself, culminating in his discovery of who was behind it all. And since it’s noir, the ending is usually a downer, even if the detective was able to solve the crime.

Then you have Memento , a noir-influenced crime movie unlike any other. The protagonist suffers from memory loss and there are two parallel storylines; one told chronologically, the other reverse-chronological. A risky move, but it paid off for director Christopher Nolan , as it is considered one of Nolan’s best films , along with having one of the best plot twists in recent memory.

Genre conventions list  •  Memento

Romance movies tend to be among the most conventional with their stories and plots, but some movies manage to shake things up. One of the best romantic comedies of all time is (500) Days of Summer , a rom-com that says outright it is “not a love story.” The film is told out of order as it follows our male lead and how he fell too hard for the titular Summer, how his expectations got the better of him, and how he eventually learned to move on.

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Then you have Edgar Wright’s Scott Pilgrim vs. the World , the definition of a movie that defies genre categorization. Video game references, musical fight scenes, and wild visual effects helped make this movie into the cult sensation it is today. That said, the main plot is still very much a romance: boy meets girl, boy has to fight for girl, boy loses girl, boy comes back stronger than ever for girl, boy and girl try again.

These are just some examples of movies that obey or defy genre conventions in their own special ways. There’s no shortage of scripts you can read online that follow the familiar path, go in a totally different direction, or do something in-between. Following conventions of a genre is more than okay, as many other successful films have proven, but sometimes going off the beaten path pays off, too.

Ultimate Movie Genre Guide

Now that we’ve gone over genre conventions, we can look at the many genres that make up the cinema landscape. Our ultimate guide covers nearly every genre out there, from general well-known genres to smaller sub-genres, all with plenty of examples.

Up Next: Ultimate Movie Genre Guide →

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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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Genre Conventions: Essential Guide [With Examples & Tips]

In the world of film, genre conventions are the secret ingredients that shape our viewing experience.

They’re the familiar patterns and tropes that help us navigate through a story, setting expectations for what’s to come.

Whether it’s the eerie silence before a jump scare in horror or the grand romantic gesture in a love story, these conventions are storytelling’s universal language.

We’ll dive deep into how these unwritten rules guide film makers and audiences alike.

From the spine-chilling halls of horror to the explosive battlegrounds of action, we’ll explore the defining features that make each genre unique.

Stick with us as we unravel the magic behind the scenes and discover how genre conventions influence the movies we love.

Horror: The Art Of Suspense And Fear

When we jump into the realm of horror, there’s an unmistakable emphasis on creating an atmosphere flooded with suspense and fear.

As filmmakers, we’re tasked with conjuring up the eerie and the unsettling, often utilizing a toolkit of genre-specific conventions to grip our audience.

The horror genre thrives on anticipatory dread, the looming sense that something menacing is about to occur.

The Shining exemplifies this through slow-burning tension and a claustrophobic setting that keeps viewers on the edge of their seats.

We harness a variety of auditory and visual tricks to amplify the horror experience.

Psycho ‘s sharp, piercing strings and The Conjuring ‘s masterful use of shadows serve not just as stylistic choices, but as integral components of the storytelling.

Integral to the genre are certain narrative elements that form the backbone of many horror films:

• A menacing antagonist with a haunting backstory,
• Isolated, often claustrophobic environments,
• The strategic delay of the monster or threat’s full reveal.

These elements play with the viewer’s mind, often leaving the most gruesome aspects to their imagination.

The power of what we don’t see often outweighs what we do, a technique masterfully employed in movies like Jaws .

also, the use of shock and surprise remains a staple of horror.

We cut together jump scares and sudden plot twists that disrupt the anticipated narrative flow.

Take Alien – its infamous chestburster scene remains one of the most shocking moments in film history.

As we craft these films, we’re acutely aware that the audience’s physiological reactions are just as important as their emotional ones.

Racing hearts and clenched fists signal the success of our horror techniques.

Action: Explosions, Excitement, And Epic Battles

In action films, adrenaline is currency, and we spare no expense.

High-stakes car chases, daring escapes, and colossal explosions are the hallmarks of this electrifying genre.

The meticulous crafting of these sequences is critical – each frame must be a crescendo of tension and spectacle.

We recognize that audiences seek more than just visual thrills.

They crave a narrative that drives the action forward, making every leap and every punch a crucial turn in the story.

Figures like John McClane in Die Hard or Jason Bourne in The Bourne Identity aren’t just skilled in combat; they’re compelling characters whose physical feats are matched by their strategic acumen.

Let’s not forget the choreography that turns fights into ballets of brutality.

We pay attention to how professional stunt coordinators design battle scenes that are both realistic and visually stunning.

The dance of combat is a symphony – every move, a note; every impact, a beat.

To achieve authenticity, we tap into the expertise of military consultants and martial arts specialists.

They bring invaluable insight that elevates our action sequences to new heights:

• They ensure that tactical operations look and feel genuine,
• They advise on the intricacies of hand-to-hand combat, lending credibility to our heroes’ skills.

Advancements in visual effects have revolutionized action scenes.

Computer-generated imagery (CGI) allows us to push the envelope, creating worlds that defy gravity and imagination.

Yet, we strive to balance digital art istry with raw, practical effects.

The weight of real explosions and the grit of live stunts contribute to an immersive experience that CGI alone can’t replicate.

Every clash, every collision, every narrow escape is a testament to the precise coordination between directors, actors, and the special effects team.

In our world, action is not just about high-octane thrills; it’s about weaving a narrative that resonates with the viewer long after the credits roll.

We design our epic battles to be both a visual feast and a narrative vehicle, gripping our audience from the first explosion to the final standoff.

Romance: From Meet-cute To Happily Ever After

Within the domain of romance in film, the journey from a chance encounter to the final affirmation of love is a time-honored storyline.

It’s the adherence to this arc that draws viewers into the dance of courtship and connection that unfolds on screen.

The “meet-cute” is a quintessential moment where potential love interests encounter each other in an endearing or amusing way.

We often see unlikely scenarios that bring together characters like in When Harry Met Sally where a long car ride plants the seeds of a romance that blossoms over years.

From there, character development is woven through personal growth and interaction.

The Notebook stands as a testament to how individual struggles and growth can foster a deep and resilient connection.

Chemistry between the characters is palpable, creating an investment in their journey.

Through the middle of the narrative, audiences are treated to emotional highs and the inevitable lows – conflicts that threaten the budding romance.

This tension is skillfully constructed through:

• Misunderstandings and miscommunication,
• External forces like disapproving families or societal boundaries,
• Personal insecurities or past traumas The culmination of these films often brings an exhilarating payoff – the resolution of conflict and a return to equilibrium. In Pride & Prejudice, the societal divides and personal misunderstandings give way to a union that feels both hard-won and destined.

Soundtracks also play an integral role in crafting the viewer’s emotional experience.

They underscore moments of despair and triumph, serving as an emotional cue and intensifying the romantic narrative.

Films like La La Land demonstrate the power of music in conveying not just the tone but also the evolution of the relationship.

In constructing captivating romance films, it’s essential that we balance the elements of attraction, conflict, and resolution to show that love, Even though the challenges, is worth the pursuit.

Each frame, each line of dialogue, and each musical note guides the audience closer to the lovers’ fate, leaving them hopeful for the moment of resolution that ties everything together.

Romance in film is a dance, and we are the choreographers of every nuanced step.

Comedy: Laughter Is The Best Medicine

In comedy films, timing is everything.

Just a few seconds can make the difference between a joke that lands and one that flops.

The key ingredients in a successful comedy are often character eccentricities and unexpected outcomes .

These factors work in tandem to create situations that defy norms, surprising and delighting audiences.

We recognize that physical comedy plays a substantial role in the genre.

Slapstick moments in The Three Stooges or the exaggerated mishaps in Home Alone have cemented themselves in comedic lore.

In contrast to some genres, improvization can be an especially valuable tool in comedy.

It allows for spontaneous moments that often capture pure hilarity, as seen in films like Bridesmaids and The Hangover .

The relatability of the scenarios presented also contributes greatly to a comedy’s appeal.

Audiences often see parts of their own lives exaggerated to the point of humor in movies such as Meet the Parents .

Here are some of the elements we find vital to crafting a memorable comedy:

• A relatable premise – offering a sense of familiarity to the audience,
• Timing and pacing – ensuring laughs are well-distributed throughout the film,
• Chemistry between characters – often driving the humor forward,
• Unique comedic voices – providing a fresh approach to humor.

We’ve also observed how comedies have evolved to include a blend of genres.

Romantic comedies combine the quest for love with humor, while action-comedies mix stunts with laughs, broadening their appeal.

Recognizing the cultural impact of comedies, they often serve as social commentaries.

Satirical works such as Dr.

Strangelove illustrate how comedy can provide a powerful critique of societal issues, while still eliciting a laugh.

As we jump deeper into the intricacies of comedy, we’ll uncover more on how this genre holds up a mirror to society, all while keeping us chuckling along the way.

Sci-fi: A Glimpse Into The Future

Sci-fi films offer us more than just entertainment – they present a canvas for examining our society and its potential evolution.

Through futuristic settings, advanced technology, and often complex philosophical questions, they challenge our perception of the future and its myriad possibilities.

Not only do these films contemplate what’s on the horizon, they also set new standards in filmmaking technique and visual effects.

Blade Runner and The Matrix have become benchmarks for cinematography and special effects within the genre.

Within this dynamic genre, certain conventions are key to crafting a believable and compelling sci-fi narrative:

• Intricate world-building that immerses viewers in the universe of the film,
• The use of speculative technology that stretches our current understanding,
• A blend of scientific principles with creative license to expand the story’s horizon.

Filmmakers employ these tropes to construct narratives that are as plausible as they are astonishing.

Sci-fi often serves as a mirror, reflecting cultural and ethical concerns through allegorical storytelling – Minority Report tackles pre-crime and free will while Arrival deals with language and time.

The genre has also become a vehicle for social commentary , examining themes of identity, humanity, and morality.

Titles like Ex Machina and Her explore our relationship with artificial intelligence and probe the essence of consciousness.

Sci-fi gives us the unique opportunity to address the ‘what ifs’ in a setting detached from our current reality.

As such, it empowers us to imagine the trajectory of mankind amidst technological advancements and to question the ethical boundaries of our innovations.

By preserving the core elements of a great story – compelling characters, an engaging plot, and a profound message – sci-fi maintains its position as a genre that captivates and informs.

Our foray into the unknown reaches new heights as we continue to create films that not only entertain but also resonate with audiences on a deeper level.

Genre Conventions In Film – Wrap Up

We’ve journeyed through the cinematic realms of horror action comedy and sci-fi witnessing how genre conventions guide filmmakers and audiences alike.

By adhering to these unwritten rules directors craft experiences that resonate with our expectations while still leaving room for innovation.

Whether it’s the chilling suspense of horror the high-octane thrills of action films the heartfelt narratives of romance or the speculative wonders of sci-fi these elements are the backbone of storytelling in cinema.

They’re not just guidelines but tools that enrich our understanding and enjoyment of the films we love.

As we continue to watch and appreciate movies let’s remember that genre conventions are the threads weaving together the fabric of these captivating visual tales.

Frequently Asked Questions

What role do genre conventions play in film.

Genre conventions shape the viewer’s experience by providing a framework of recognizable elements that cue the audience into what to expect, whether it’s suspense in horror, adrenaline in action, laughter in comedy, or speculative wonder in sci-fi.

How Do Horror Films Create An Atmosphere Of Fear?

Horror films use genre-specific conventions like suspenseful music , jump scares, dark visuals, and unsettling storylines to create an atmosphere of fear and tension.

What Makes Action Sequences Thrilling?

The thrill in action sequences comes from a mix of fast-paced narrative, meticulous choreography, authentic stunt work, and the ability to keep the audience invested in the outcome.

What Are Key Elements Of A Captivating Romance Film?

Captivating romance films hinge on character development, realistic conflicts, emotional depth, and satisfying resolutions that resonate with the viewer’s experiences and expectations.

How Do Soundtracks Contribute To Romance Narratives?

Soundtracks intensify romantic narratives by heightening emotions and accentuating critical moments, making scenes more memorable and impactful.

How Does The Sci-fi Genre Offer A Glimpse Into The Future?

Sci-fi films offer a glimpse into the future by extrapolating current technological trends and imagining how they might evolve, often serving as a commentary on contemporary societal issues.

What Conventions Define The Sci-fi Genre?

The sci-fi genre is defined by conventions such as intricate world-building, speculative future technology, and blending scientific principles with creative storytelling to broaden narrative possibilities.

How Does Sci-fi Serve As Social Commentary?

Sci-fi serves as social commentary by reflecting cultural and ethical concerns, questioning the impacts of innovation, and exploring potential societal evolutions, often prompting audiences to reassess their views on present-day dilemmas.

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Context Clues: Everything You Need to Know

Best first aid kits: a comprehensive guide, teaching writing in kindergarten: everything you need to know, haiti names new prime minister to try to lead country out of crisis, israel pushes into rafah as displaced palestinians search for safety, gazan officials say a strike killed 21 in al-mawasi, pope apologizes after reports that he used an anti-gay slur, growing pressure on western nations to expand the range of weaponry provided to ukraine has been escalating as the conflict with russia continues. leaders and military officials are increasingly debating the possibility of allowing ukraine to employ western-supplied weapons to carry out strikes against targets on russian territory. the crux of the argument for allowing ukraine such offensive capabilities is grounded in the desire to create a significant deterrent effect. proponents argue that enabling ukraine to strike back at russia could force moscow to reconsider its strategy and potentially lead to a de-escalation of hostilities. opponents, however, warn of the risks associated with such a move. escalation dominance, wherein one side’s increase in capabilities leads to an arms race, poses a serious concern. there is also fear that enabling ukraine to strike inside russia might provoke a strong retaliation, not just against ukraine but potentially involving western nations more directly in the conflict. the debate involves complex strategic calculations. on one hand, there’s a moral and strategic impetus to support ukraine in defending its sovereignty and territorial integrity. on the other hand, there’s a need for caution and consideration of long-term regional stability and global security. as discussions continue without definitive conclusions, it is clear that decisions made today will have lasting implications for international norms and future geopolitical conflicts. the international community awaits further developments while contemplating the far-reaching consequences of this critical juncture in east-west relations., why lawmakers are brawling and people are protesting in taiwan, three european countries formally recognize palestinian statehood, how to write a movie review (with sample reviews).

Introduction

Writing a movie review can be a fun and rewarding experience, allowing you to express your thoughts on the latest film in an engaging way. Whether you’re reviewing for your personal blog, social media, or a magazine publication, understanding the basics of writing a movie review is essential. This article will guide you through the process, providing you with tips and sample reviews to help you craft an effective and entertaining review.

Step 1: Watch the Movie

As obvious as it sounds, the first step in writing a review is to watch the movie. Make sure to watch it attentively and take notes during the screening process. Focus on details such as plotlines, characters, dialogues, and visuals to support your review later on.

Step 2: Research

Researching the production and background of the movie can provide useful context and additional information. This includes learning about the director’s past work, genre conventions, or any behind-the-scenes tidbits that could enhance your review.

Sample Review:

“In ‘Inception,’ director Christopher Nolan – best known for his work on ‘The Dark Knight’ trilogy – constructs a mind-bending universe that explores the possibilities of dreams within dreams.”

Step 3: Analyze

Break down different aspects of the movie, such as its plot, characters, acting, music score, cinematography, and visual effects. Analyzing each element will provide a comprehensive perspective on the film’s strengths and weaknesses.

“While ‘La La Land’ boasts stunning visuals and memorable musical numbers by Ryan Gosling and Emma Stone, its predictable storyline loses some momentum in the latter half.”

Step 4: Consider Your Audience

Your writing style may vary depending on who you’re writing for. Make sure to adjust your tone and focus based on what your readership might find interesting or entertaining.

“If you’re a die-hard Marvel fan, ‘Avengers: Endgame’ delivers a satisfying conclusion to the decade-long story arc. However, newcomers may struggle to keep up with the film’s numerous plotlines and characters.”

Step 5: Express Your Opinion

A good movie review should provide a balance of analysis and personal opinion. Be honest about your feelings towards the film and use your analysis to support your point of view.

“‘Get Out,’ directed by Jordan Peele, is an instant horror classic that combines social commentary with chillingly suspenseful storytelling. I highly recommend it for fans of thought-provoking thrillers.”

Step 6: Structure Your Review

Organize your review into clear sections, such as introduction, background research, plot summary (avoid spoilers), character analysis, technical aspects, and conclusion. This will make it easier for your readers to follow and digest your thoughts on the movie.

Step 7: Edit and Revise

Proofread your review for grammatical errors and inconsistencies in the flow of thought. Don’t be afraid to make changes to improve your review’s clarity and coherence.

Writing a movie review can be an enjoyable process, offering an opportunity to share your insights on a film while honing your critical thinking skills. Follow these steps and use the sample reviews provided as inspiration on how to craft an engaging and insightful movie review that both informs and entertains your audience.

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1.3: Reviewing Conventions

Learning objectives.

• Identify writing conventions for journalistic and academic writing
• Examine conventions for technical communication

What are Writing Conventions?

Every genre of writing has unique characteristics and rules, called conventions, that help readers classify a document as belonging to a particular genre. This also applies to film and music. Think about the last movie you saw. What type of movie was it? What about that movie gave you that impression? Did the characters wear Stetson hats, ride horses, and carry guns? Did they fly in space ships, encounter alien beings, and use futuristic technology? Those elements are typical conventions of Western and Science Fiction genres.

Non-fiction is a category that can be broken into various genres and sub-genres. The main types of non-fiction that are relevant to us are journalism (newspaper writing), academic writing (written by scholars and published in peer-reviewed academic journals or books), and technical writing. Before we get into the specific conventions that characterize technical writing, take a moment to think back to your academic writing courses and list some conventions typical of journalism (popular press) and academic writing for the criteria listed in Table 1.3.A.

What are Writing Conventions for Technical Communications?

Like journalism and scholarly writing, technical writing also has distinct features that readers expect to see in documents that fall within this genre. These include (a) use of headings to organize information into coherent sections, (b) use of lists to present information concisely, (c) use of figures and tables to present data and information visually, and (d) use of visual design to enhance readability.

In addition, technical documentation is intended to communicate information in a way that is clear and easy to read. Designing technical communication is like designing any other product for an intended user:  the ultimate goal is to make it “user friendly.”

Keywords here are accessible , usable, clear, goal-oriented , effective , and reader-centred .  The characteristics of technical writing support these goals and concepts.

If we filled in Table 1.3.A. with typical characteristics of technical writing, it might look something like Table 1.3.B:

Exercise 1.3.A:  Examine the Conventions of Technical Writing

Read this technical writing piece and answer/discuss the questions that follow.

Brine Drainage Tube Modifications

During this period, we have continued to work on problems associated with the brine drainage tubes.

Previous Period: After minor adjustments during a month of operation, the drainage tubes and the counter-washer have performed better but still not completely satisfactorily. The screen sections of these tubes, as you know, are located at variable distances along the height of the washer.

Current Period: The screen portion of the brine drainage tubes have been moved to within 5 feet of the top of the pack. So far, no change in counter-washer performance has been observed. Production statistics at the end of this month (February) should give us a clearer idea of the effect of this modification.

Next Period: Depending on the continued performance of the screen in its current position in relation to the top of the pack, we may move the screen to within 3 feet of the top of the pack in the next period of testing. Although the wash ratio was greater with greater screen height, the washing efficiency seems to remain relatively constant; the production vs. compressor KW data for all screen locations so far has seemed to follow the same linear curve.

• What is the purpose of this piece of technical writing?
• Who is the intended audience?
• What writing style is it using?
• What tone does it have?
• What structure does it have?
• What formatting does it use?
• Are there any other features you notice about it?

References & Attributions

Attributions

Content on this page is adapted from Technical Writing Essentials by Suzan Last, which is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

Progress Report in exercise is taken from Progress Reports (from Online Technical Writing: Examples, Cases & Models ) by David McMurrey, which is licensed under  CC-BY 4.0 International License .

Writing in a Technical Environment (First Edition) Copyright © 2022 by Centennial College is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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Review: ‘Arrival’ is deeply human, expertly realized science fiction

Kenneth Turan reviews ‘Arrival’ directed by Denis Villeneuve, starring Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Tzi Ma, and Mark O’Brien. Video by Jason H. Neubert.

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You can stop watching the skies.

They’re here.

Movies that begin with confounding aliens on the loose have been around for awhile (at least since 1951’s “Man From Planet X” and “The Day the Earth Stood Still”) and they invariably share a family resemblance even if the space visitors themselves never look the same way twice.

Where do these beings come from, baffled scientists and frightened government officials inevitably want to know. Are they friendly or hostile, what do they want from us and what are they doing here in the first place?

One of the most satisfying things about Denis Villeneuve’s elegant, involving “Arrival” is that it is simultaneously old and new, revisiting many of these alien-invasion conventions but with unexpected intelligence, visual style and heart.

Working from a smart and effective script by Eric Heisserer adapted from a cerebral short story by science-fiction luminary Ted Chiang, the French-Canadian director and his team have found ways to make these way-out-of-the-ordinary events seem plausible and convincing.

This cannot have been easy because Chiang’s story, though containing a splendid central idea, is a cool, scientific, even philosophical exploration of the nature of language and does completely without many of the plot specifics that make “Arrival” involving.

Amy Adams, Jeremy Renner and Forest Whitaker star in “Arrival.”

Always an effective, if at times coolly manipulative director (“Sicario,” “Prisoners”), Villeneuve and his team have embraced the script and even found space for emotion. This is especially true in the film’s audacious conclusion, a moving, nervy reveal sure to spark lots of after-movie conversation.

In his success Villeneuve is helped considerably by the finely calibrated performance of star Amy Adams. Though the credits list her as one of a group of top actors including Jeremy Renner, Forest Whitaker and Michael Stuhlbarg, “Arrival” is really Adams’ film, a showcase for her ability to quietly and effectively meld intelligence, empathy and reserve.

Before we know anything else about her, we see Adams’ Louise Banks as a parent, enjoying the happiness and the sadness that can come with raising a child, her daughter Hannah. Chiang’s short story is titled “Story of Your Life,” and “Arrival” is similarly structured as a kind of message from mother to child.

Almost immediately, however, we cut to the chase. Banks is a professor of linguistics, but when she shows up to teach, her classroom is almost empty. A timely look at the television tells all: an ominous extraterrestrial spacecraft has landed in Montana and the country is freaking out.

Looking like the universe’s largest skipping stone, or a surfboard big enough to daunt Duke Kahanamoku, that spacecraft is one of 12 that have shown up at apparently random locations around the globe, including Venezuela, Siberia and China.

Banks thinks all this has nothing to do with her, but she’s wrong. Because she’s an ace linguist who already has security clearance, the Army’s all-business Col. Weber (a letter-perfect Whitaker) shows up at her door in need of help figuring out both how the aliens speak and what they are saying.

Whisked off to deepest Montana, Banks is joined by another scientist, top Los Alamos theoretical physicist Ian Donnelly (Renner), and Agent Halpern (Stuhlbarg), the inevitable watchful guy from the CIA.

Every 18 hours the alien craft opens and Banks and Donnelly and a support crew go in and confront the pair of aliens, who they nickname Abbott and Costello (a big improvement over the short story’s Flapper and Raspberry).

Banks’ mandate is double-edged: to learn as much of these creatures’ language as she can, while for security reasons, not revealing any more English to them than she needs to.

This process turns out to be a more fraught procedure than the linguist imagines, and not only because in the rest of the world everyone is acting on pure fear alone.

But for Banks, whose sessions with the aliens are punctuated by frequent visions of herself and her daughter, learning that alien tongue, as short-story writer Chiang puts it, “changes the way she understands her life.”

While Chiang’s story provides “Arrival’s” essential core concept, almost everything else is brought to the table by Villeneuve and his accomplished team, led by gifted cinematographer Bradford Young (“A Most Violent Year,” “Pawn Sacrifice,” “Selma”).

Almost taking as a challenge the familiar nature of alien movies, Villeneuve, Young, production designer Patrice Vermette and visual effects supervisor Louis Morin have taken it as a challenge to show us things from unexpected angles, keeping us off balance visually and emotionally in a very accomplished way.

Adams’ contribution is essential to this plan, especially when you realize that the story is in large part about the nature of language learning and linguistics. Her ability to create empathy and emotional connection, with the audience as well as the aliens, reminds us that the best and most effective science fiction is invariably deeply human at its core.

MPAA rating. PG-13 for scenes of science fiction violence and terror and for brief language.

Running time: 1 hour, 58 minutes.

In general release.

Critic’s Choice. “Arrival.” Amy Adams stars in this elegant, involving science fiction drama that is simultaneously old and new, revisiting many alien invasion conventions but with unexpected intelligence, visual style and heart. - Kenneth Turan

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'In a Violent Nature' review: Slasher told from killer's point of view

Canadian horror movie puts a fresh coat of paint on genre's conventions..

Somewhere between the arthouse and the grindhouse lies "In a Violent Nature," a slasher movie with a clever narrative twist: It's told from the perspective of the killer, rather than that of the hapless victims who are picked off one by one, which makes it sort of like Freddy or Jason's home movies, if they hired a documentary crew to follow them around.

In the woods — isn't it always in the woods? — a big, beefy guy (Ry Barrett) lumbers through the trees. He's silent, his clothes are tattered and caked in blood, and it looks like it's been a long time since he's had a good day. He spends his time slowly stalking toward his victims, the dolts who come to the woods for a weekend to party and hook up, and we watch him from behind as he gets ever closer to his prey.

The long shots of the killer slowly walking are reminiscent of Gus Van Sant's "Gerry," which was mostly made up of shots of its protagonists wandering through the desert. That makes "In a Violent Nature" a rather heady horror film, though its gruesome kills — including one where a victim is pretzeled in a surprisingly inventive manner — will undoubtedly satiate the bloodlust of horror fans.

As for the story, we're given pieces of the killer's myth, such as it is, through the most old-fashioned of narrative tropes: a campfire tale. This is one of the instances where writer and director Chris Nash abandons the rules of his premise, but it's not a deal breaker: He's working with low stakes, and he elevates his elements simply through his camera work and storytelling.

"In a Violent Nature," which was filmed in Ontario near Sault Ste. Marie, isn't a reinvention of the form, but Nash shows that with a little ingenuity, everything that's old can feel new again.

[email protected]

'In a Violent Nature'

Not rated: Extreme horror violence, language, adult situations

Running time: 94 minutes

In theaters

Movie Poster Analysis

Introduction.

Part of our  media form  series on the codes and conventions of print media, this guide will take you through important aspects of movie poster design, including definitions of some of the key terms. We are going to consider the different approaches advertising agencies take to the teaser, theatrical release, and review posters. There is also a summary of the technical specifications for those who are really interested in design – it might help you decide on the format for your own products.

Advance Poster

Even before the cameras finish rolling and the editors have spliced together the first cut of the film, movie studios want to generate great excitement around their next big blockbuster. Like the name suggests,  advance  posters are issued to cinemas and other outlets to create a “buzz” in advance of an actual release date. Therefore, teaser posters will have “Coming Soon” instead of a specific date. Advertisers use something like “In Theatres This Summer” for American cinemagoers.

The artwork will depend on the promotional schedule and the marketing budget. For example, if production has just begun, the advance poster might only contain a simple logo with no other information. “Avengers: Endgame” (2019) is probably the best example of this type of advertisement.

You might then see posters with images of the main characters. These are known as  character advances  and you can expect to see the protagonist staring at something in the distance. Again, Black Widow from “Avengers: Endgame” is a good example.

Theatrical Release Poster

The  theatrical release  poster is considered the “official” and “original” promotional material because it has to conform to certain industry standards and regulations. For example, this  one sheet  as it is known, will contain a  billing block  which identifies the names of important cast and crew members, such as the director and casting agent. The names are incredibly small because the studio has to squeeze so many people into the tight space to meet their contractual obligations. If you are making your own movie poster, make sure you use a condensed typeface for the  credits .

The studio and other agencies will have their own logos here as well.

Of course, you will notice the name of the main actors, director or producer emblazoned on the poster in their top billing. There might also be a tagline under film’s title. The artwork will certainly be more detailed than the advance poster

Award Poster

If a film has been nominated for or won an industry award, such as an Oscar or BAFTA, the studios might issue new promotional material to include these accolades. The advertisers are also quick to add five-star reviews from well-known critics. This particular style would have less artwork to leave more room for comments and awards.

It is important to note that many independent and art-house films are shown in festivals around the world before they go on general release. Therefore, their “original” poster might include a reference to their success at, for example, the Cannes Film Festival.

Studios normally release more than one version of the posters in an attempt to appeal to different audiences. For example, one poster might emphasise codes from the action genre while another could appeal to the film’s romantic plot. These styles are labelled A, B, C and even D.

If you want to know more about how your own demographic or psychographic is defined, check out the way television shows and films are presented differently according to the user profile in Netflix or Amazon Prime. These companies try to tailor the advertisement to appeal to each individual viewer.

Technical Specifications

In the UK, the standard size of a movie poster is 40″ x 30″ and this landscape format is known as the quadruple crown, or simply  quad . If you are looking at a portrait poster, take out a measuring tape and you will probably find it is 41″ x 27”. This format is called the  one sheet .

If you are making a film poster for your media studies coursework, you should follow these dimensions to demonstrate you understand the conventions in the UK.

In America, the one sheet is the same size as its UK counterpart, and it is the most common poster displayed in cinemas. Other sizes exist around the world and the posters are always being adapted to suit new locations rather than the traditional billboards and Tube stations. Also, many posters now are double-sided so they can be viewed by audiences passing in either direction.

Further Reading

The Characteristics of Postmodernism

Website Codes and Conventions

Magazine Cover Analysis

Documentaries

Print Media Advertising

• Camera Shots

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There must be fewer experiences more wounding to the heart than for a parent to look at a child and fear for its future. In inner-city America, where one in every 21 young men will die of gunshot wounds, and most of them will be shot by other young men, it is not simply a question of whether the child will do well in school, or find a useful career: It is sometimes whether the child will live or die.

Watching her bright young son on the brink of his teenage years, seeing him begin to listen to his troublesome friends instead of to her, the mother in “Boyz N the Hood” decides that it is best for the boy to go live with his father. The father works as a mortgage broker, out of a storefront office. He is smart and angry, a disciplinarian, and he lays down rules for his son. And then, out in the streets of south central Los Angeles, the son learns other rules.

As he grows into his teens, his best friends are half-brothers, one an athlete, the other drifting into drugs and alcohol. They've known each other for years - and have steered clear, more or less, of the gangs which operate in the neighborhood. They go their own way. But there is always the possibility that words will lead to insults, that insults will lead to a need to “prove their manhood,” that with guns everywhere, somebody will be shot dead.

These are the stark choices in John Singleton ’s “Boyz N the Hood,” one of the best American films of recent years. The movie is a thoughtful, realistic look at a young man’s coming of age, and also a human drama of rare power - Academy Award material. Singleton is a director who brings together two attributes not always found in the same film: He has a subject, and he has a style. The film is not only important, but also a joy to watch, because his camera is so confident and he wins such natural performances from his actors.

The movie’s hero, who will probably excel in college and in a profession, if he lives to get that far, is an intelligent 17-year-old named Tre Styles (Cuba Gooding Jr.). His father, Furious Styles ( Larry Fishburne ), grew up in the neighborhood, survived it, and understands it in two different ways: as a place where young men define their territory and support themselves by violence, and as a real estate market in transition - where, when prices and lives there find their bottom, investors will be able to buy cheap and then make money with gentrification.

Furious Styles also knows the dangers for his son - of gangs, of drugs, of the wrong friends. He lays down strict rules, but he cannot be everywhere and see everything. Meanwhile, Singleton paints the individual characters of the neighborhood with the same attention to detail that Spike Lee used in “ Do the Right Thing .” He’s particularly perceptive about the Baker family - about the mother ( Tyre Ferrell ) and her two sons by different fathers, Dough Boy (rap artist Ice Cube ) and Ricky ( Morris Chestnut ). Both live at home, where it is no secret in the family that the mother prefers Ricky.

He’s a gifted athlete who seems headed for a college football scholarship.

Dough Boy is not a bad person, but he is into booze and drugs and will sooner or later find bad trouble. He spends most of his days on the front steps, drinking, plotting, feeding his resentments. They live in a neighborhood where violence is a fact of life, where the searchlights from police helicopters are like the guard lights in a prison camp, where guns are everywhere, where a kid can go down to the corner store and not come home alive. In painting the cops as an occupying force, Singleton is especially hard on one self-hating black cop, who uses his authority to mishandle young black men.

In the course of one summer week or two, all of the strands of Tre’s life come together to be tested: his girlfriend, his relationship with his father, his friendships, and the dangers from the street gangs of the area. Singleton’s screenplay has built well; we feel we know the characters and their motivations, and so we can understand what happens, and why.

A lesser movie might have handled this material in a perfunctory way, painting the characters with broad strokes of good and evil, setting up a confrontation at the end, using a lot of violence and gunfire to reward the good and punish the rest.

Singleton cares too much about his story to kiss it off like that.

Look, for example, at the scene late in the film - the morning after scene - where Dough Boy walks across the street and speaks quietly to Tre; he knows what is likely to happen, and yet wants his friend to escape the trap, to realize his future.

“Boyz N the Hood” has maturity and emotional depth: There are no cheap shots, nothing is thrown in for effect, realism is placed ahead of easy dramatic payoffs, and the audience grows deeply involved. By the end of “Boyz N the Hood,” I realized I had seen not simply a brilliant directorial debut, but an American film of enormous importance.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Boyz N the Hood (1991)

107 minutes

Cuba Gooding Jr. as Tre Styles

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Written and Directed by

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• ‘Diane von Furstenberg: Woman in Charge’ Review: Famed Fashion Designer Opens Up About Life, Love, And The Pursuit Of Success – Tribeca Fest

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Diane von Furstenberg, a name synonymous with elegance, reinvention, and resilience, finds herself once again in the spotlight with the Tribeca Festival premiering the documentary Diane von Furstenberg: Woman In Charge . Directed with a keen eye for the intricacies of an extraordinary life by Sharmeen Obaid-Chinoy and Trish Dalton, the film offers an intimate portrait of a woman who transformed not just fashion, but the concept of feminine power and independence.

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The documentary delves into Diane’s early life, beginning with World War II. Born in Brussels to a Holocaust survivor, she was a “miracle baby.” Her mother, shaped by the traumas of war, instilled in the designer a sense of confidence from a young age. This tough love, while seemingly harsh, prepared her for a world that was anything but gentle. With her mother’s lessons in tow, Diane left the confines of Brussels to the liberating experience of boarding school, where her sexual fluidity in the 1960s led to her expulsion. This period of rebellion and self-discovery laid the foundation for a life characterized by bold choices and fearless exploration. She met and eventually married Egon von Furstenberg, a German prince, who introduced her to a world of wealth and privilege. As a middle class Jewish girl, Diane navigated this new world with an ease that surprised her.

The moment that transformed Diane’s career is her recollection of seeing Richard Nixon’s daughter in a simple yet elegant top and skirt combo, inspiring her to create the now-legendary wrap dress. This affordable and stylish garment became a status symbol, empowering countless women during a pivotal era for women’s rights and entry into the workforce. The revolutionary wrap dress’s significance in the 1970s cannot be overstated, as it embodied the newfound voice of women and fashion during that time. Despite moments where she considered abandoning her fashion career, Diane’s resilience saw her through. The late ’90s resurgence of her signature designs which were embraced by the influencer generation revitalized the DVF brand for the modern era.

Through archival footage and meticulous research, there is a lot to learn from and about Diane with her unique style of personal connection to the people around her, and the refusal to ever see herself as a victim. Personal anecdotes provide a rich tapestry of her journey. Her unapologetic attitude and fierce independence are central themes throughout the documentary, with testimonials from friends and admirers such as Oprah Winfrey, Marc Jacobs, Anderson Cooper, Gloria Steinem, Hillary Clinton, and Fran Lebowitz, and more. While the film could benefit from a tighter edit to maintain its pacing, it nonetheless offers a wealth of insight into Diane’s enduring legacy.

Diane von Furstenberg: Woman In Charge is a celebration of life. It captures the designer’s ongoing journey of self-discovery and reinforces her belief that there is always more to accomplish, and that life should be lived to its fullest. This film is a fitting tribute to a woman who has never ceased to inspire, innovate, champion women’s causes, and live by her mantra, “see the woman, not the dress.”

Title:  Diane von Furstenberg: Woman In Charge Festival:  Tribeca ( World Premiere Gala) Distributor:  Hulu Release Date:  June 25, 2024 Director:  Sharmeen Obaid-Chinoy and Trish Dalton Running time:  1 hr 37 mins

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‘The Acolyte’ Review: ‘Star Wars’ an Even Longer Time Ago

The franchise’s latest series on Disney+ is set before there was even an empire to strike back.

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By Mike Hale

“The Acolyte,” the latest product off the Lucasfilm assembly line (it premieres Tuesday night on Disney+), enters territory unfamiliar to the casual follower of “Star Wars.” It is set during a prehistorical period known as the High Republic, until now depicted primarily in short stories, novels and comic books read only by serious fans. (The High Republic stories are to George Lucas’s central works somewhat as “The Silmarillion” is to “The Hobbit” and “The Lord of the Rings.”)

Moving a “Star Wars” story out of the main time stream — no Empire, no R2-D2, a century before Luke Skywalker — has not liberated it from the franchise’s oldest conventions and clichés, however. “The Acolyte” tweaks the formulas here and there, but, to a greater degree than other Disney+ shows like “The Mandalorian” and “Andor,” it falls back on signature moves: the electronic whoosh of the light saber; the outstretched hand summoning the Force; lovable droids and fuzzy holograms; dark masters and chosen children.

Created by a newcomer to the franchise, the writer and director Leslye Headland (“Russian Doll”), the show is focused on twin sisters in their mid-20s, Osha and Mae, both played by Amandla Stenberg. They share a tragedy in their childhoods that has left them with very different feelings about the Jedi knights, who in the High Republic time frame are comfortably ascendant across the galaxy, before their later tribulations in the “Star Wars” films.

That critical moment, revealed in the season’s first half (four of eight episodes were available for review), involves one of Headland’s more noticeable creations: a coven of witches who tap into the Force with a holistic, communitarian ethos. (They feel borrowed from an early episode of “Star Trek,” with a swerve into unintentionally hilarious musical theater when they perform one of their ceremonies.) The nature-principle witches and the power-principle Jedi converge, spawning a vendetta plot centered on the grown twins that allows for plenty of planet hopping action. The fights are copious, and in another new twist for “Star Wars,” many of them take the form of balletic martial arts face-offs.

But the storytelling force is not strong. Putting more female characters, and a stronger female point of view (even if it is sometimes redolent of 1960s earth mother), into an otherwise traditional “Star Wars” framework is worth the attempt. “The Acolyte” doesn’t bring enough energy or invention to the task, though.

It goes through its space-opera paces, offering some blandly pretty forest planets and the occasional impressive landscape. (Location shooting was done in Wales and Portugal.) The “Star Wars” penchant for paying homage to the backlot bazaars and gin joints of classic Hollywood is frequently indulged.

Beneath the familiar trappings, the visceral pull that “Star Wars” can summon in its best moments — “The Empire Strikes Back,” “The Last Jedi,” parts of “Andor” and “The Mandalorian” — doesn’t manifest itself. Characters speak in platitudes about loss, grief, loyalty and revenge, and the cast mostly works down to the level of the dialogue.

Stenberg is capable and charming but can’t make either twin very interesting; Lee Jung-jae of “Squid Game,” who plays a sympathetic Jedi, doesn’t make much of an impact in his first English-language role. The most winning performances of the early episodes are given by Lauren and Leah Brady as the 8-year-old Osha and Mae — the most winning performances by humans, anyway. In the “Star Wars” universe, robots tend to have as much personality as their flesh-and-blood co-stars, if not more, and Osha’s pocket-size droid, Pip, is a trouper. With proper maintenance, he might outlast the High Republic.

Mike Hale is a television critic for The Times. He also writes about online video, film and media. More about Mike Hale

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‘The Dead Don’t Hurt’ Review: Viggo Mortensen Disappears From His Own Western for a Spell, Letting Vicky Krieps Lead

Mortensen's understated and nonlinear second feature privileges the female perspective, pushing back on the violent tropes of studio Westerns like 'Appaloosa.'

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From the second scene of Mortensen’s second feature, “The Dead Don’t Hurt” (following 2020’s excellent father-son drama “Following”), audiences know the fate of Vivienne LeCoudy ( Vicky Krieps ). A resilient French Canadian pioneer woman left alone for years, Vivienne dies at home in bed, a single tear making tracks on her dusty cheek. For no good reason, Mortensen opts to tell her story out of order, flashing back to Vivienne’s childhood (to show the character-defining disappearance of her fur-trapper father) and carrying on past her death to reveal whether her absentee partner (played by Mortensen) manages to avenge what happened to her.

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How many partners have attached themselves to someone else’s dream, then had to adapt when it proves disappointing? Films rarely frame that experience from the woman’s perspective, which makes Mortensen’s enlightened approach fairly refreshing, even if Vivienne’s independence manifests itself in a way that anyone can sense is bad news (and not just because we see a varmint shooting up the saloon and hightailing it out of town early on). Determined to earn her own money, Vivienne applies for a job in that very same saloon, where that very same varmint, Weston (“Tom Jones” star Solly McLeod), lecherously hires her on the spot.

Wearing his entitlement as menacing as his villainous black hat, Weston acts like he owns the bar — as it happens, he does — and everything in it, smashing whom and what he pleases. One night, the young pest shows up drunk at Vivienne’s cabin and forces himself on her (a development that’s predictable to us but comes as a surprise to Krieps’ otherwise intelligent character). After so many subtleties, it’s unfortunate that Mortensen relies on rape as a plot device, though Vivienne’s reaction reinforces the strength she finds in Holger’s absence: defiantly showing up at work the next day, raising the child that results from this violation.

One of the film’s best scenes — emblematic of the way the movie communicates many of its ideas without dialogue — occurs years later, when Holger accepts the boy as his own. When the characters do speak, they express themselves in a clumsy, overwrought way, as if they’ve been watching “Deadwood” and wish to parley as only David Milch can. Danny Huston brings gusto to the role of shady mayor Rudolph Schiller, in cahoots with Weston’s dad, Alfred Jeffries (Garret Dillahunt), on a big land deal. Told out of order, those scenes are frustratingly difficult to follow, but also standard enough that we get the gist. (The rest works better on second viewing, once we’ve worked out the chronology.)

In Holger’s absence, Vivienne transforms their scrappy patch of nothing into a proper home, with a thriving garden and plants blooming all around the porch. (She probably should have opened a flower stand in town, rather than find work at the saloon, but then Mortensen couldn’t have made his statement about what dastardly predators men can be.) When Holger returns, it’s to the scene that opened the film, just in time to watch Vivienne kick the bucket. She was the film’s spine, its fiery frontier wildflower, and without her, the movie settles into a kind of melancholy torpor. Weston’s out there somewhere, begging to be taught a lesson, but Mortensen — who, as an actor, expanded the Western in films such as “Jauja” and “The Road” — seems to have other ideas in mind.

Reviewed at Toronto Film Festival, Sept. 9, 2023. MPA Rating: R. Running time: 129 MIN.

• Production: (Canada-Mexico-Denmark) A Shout! Studios release of a Talipot Studio presentation, in association with MEP, Perceval Pictures, of a Talipot Studios, Recorded Picture Company, Perceval Pictures production, in association with HanWay Films. Producers: Regina Solorzano, Jeremy Thomas, Viggo Mortensen. Executive producers: Roberto Paxson, Gabriel Terrazas, Ivan Kelava, Daniel Berkerman, Jesper Morthorst, Paula Astorga Riestra, Peter Watson. Co -producers: Gia Galligani, Angela Blair.
• Crew: Director, writer: Viggo Mortensen. Camera: Marcel Zyskind. Editor: Peder Pedersen. Music: Viggo Mortensen.
• With: Vicky Krieps, Viggo Mortensen, Solly McLeod, Garret Dillahunt, Colin Morgan, Ray Mckinnon, W. Earl Brown, Atlas Green, Danny Huston. (English, French, Spanish dialogue)

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Riddle of Fire: modern-day fairytale channels 1980s pre-teen classics

Weston Razooli's retro-styled debut is a patchy but sincere tween adventure film following a group of kids on a surreal mission to procure a blueberry pie in exchange for the password of their parents’ smart TV.

6 June 2024

By  Adam Nayman

There’s a wry conceptual joke at the heart of Riddle of Fire: in an old-fashioned quest narrative that’s centred on mischievous pre-teens, who’ve styled themselves as knights of the realm – and which fetishises its grainy 16mm celluloid textures as a seal of retro authenticity – the holy grail is a vintage video game console, procured by our heroes at great risk from an isolated warehouse. Not only that, but for all of their agile, swashbuckling facility with dirt-bikes and paintball guns, the would-be gamers – brothers Hazel (Charlie Stover) and Jodie (Skyler Peters), and their pal Alice (Phoebe Ferro), an inseparable trio known as the Three Immortal Reptiles – can’t sort out the parental protection software on Hazel and Jodie’s smart TV , a block rendering their new acquisition useless. The game’s failure to launch, and the very fairytale-ish request by the boys’ mother to fetch her a blueberry pie in exchange for the password, becomes the catalyst for a series of surreal, freewheeling adventures across the very dusty (and fictional) Ribbon, Wyoming. It’s a space that, as imagined by rookie writer-director Weston Razooli, is at once recognisably drab and enchanted around the edges, where newcomers are suspicious, and the local bakery is just a short pedal from the ominously named Faery Castle Mountain. “Where the fuck are we?” queries a Reptile at one point, drawing attention to both the scrambled geography and the sweetly profane sensibility at the heart of Riddle’s project. When the film premiered last year at Cannes, reviewers couldn’t help but notice the correspondences between Razooli’s work and certain enduring tween entertainments of the 1980s, like the Steven Spielberg-produced cult classic The Goonies (1985) and Rob Reiner’s Stand by Me (1986). Another, more resonant touchstone might be the 1989 fan film Raiders of the Lost Ark: The Adaptation, which was shot in the Mississippi Delta on a shoestring by a trio of prepubescent auteurs trying to collapse the distance between Hollywood blockbusters and home movies, one lo-fi set piece at a time.

Razooli isn’t a kid, but he’s clearly chasing the exhilaration of youthful point-and-shoot filmmaking, and his debut is at its best when it gives itself over to the rhythms of playtime. (The opening paintball raid is a goofy tour de force). More importantly, the filmmaker – who majored in graphic design and cites the films of Miyazaki Hayao as an influence – stops short of putting everything on screen in cosy scare quotes. Instead, the pendulum swings the other way, in the direction of simple – and sincere – narrative and dramatic archetypes which, as deployed, function just well enough to get the film (and the Reptiles) from one end of the storyline to another. Over the course of their journey, which grows in danger and intrigue, we meet huntsmen, trolls and even witches, all of whom are exactly as magical as they appear to be – belief and its various virtues and discontents being probably the closest thing the script has to an explicit theme.

As a calling card for future work, Riddle of Fire is likely to earn its maker plenty of attention: it’s beautifully designed and executed and carried over its scattered rough patches by a soundtrack that’s heavy on medieval stringed instruments and moody new wave synthesisers. The craftsmanship is such that it renders the film susceptible to more self-indulgence than is strictly necessary; having created an immersive, intriguing low-budget fantasy world, Razooli indulges in his fair share of downtime, to the point that the Reptiles’ saga bumps up against the two-hour mark, which is simply too long for a movie whose pleasures are so slender. The distended running time comes perilously close to exposing the inexperience of Razooli’s young actors, who are better with one-liners than expository monologues (Peters’ often-mumbled dialogue comes with subtitles, which somehow miraculously never feels like a joke at his expense). There’s a definite mileage-may-vary aspect to the whimsy here, but Riddle of Fire deserves credit for creating and sustaining its tone from beginning to end, and for at least considering the possibility of purity at a moment when so much entertainment – including and especially stories aimed at younger demographics – suffers from potent and compulsory irony poisoning. Riddle of Fire is many things, but it’s never sarcastic or mean-spirited; it follows the road paved by its good-intentions to somewhere better than expected. 

► Riddle of Fire is in UK cinemas from 7 June

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Review: 'Bad Boys' Will Smith, Martin Lawrence are still 'Ride or Die' in rousing new film

Over three decades of “Bad Boys” movies, Will Smith and Martin Lawrence have traded many a zinger and racked up endless property damage with their buddy-cop exploits. And yet they still find fresh ways to make the franchise sing, like weaving in themes of death and mortality with giant hungry alligators and gunfights that rain down jelly beans.

“Bad Boys: Ride or Die” (★★★ out of four; rated R; in theaters Friday), the fourth installment of Smith and Lawrence’s action-comedy series, certainly doesn’t let up on the explosive, crowd-pleasing antics. But directors Adill El Arbi and Bilall Fallah, returning from 2020’s “ Bad Boys for Life ,” successfully evolve Miami cops Mike Lowrey (Smith) and Marcus Burnett (Lawrence) by having them confront their middle-aged vulnerabilities as inadvertent outlaws in an increasingly over-the-top tale.

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And if you’ve been a “Bad Boys” fan since the original 1995 Michael Bay film, “Ride or Die” pays off plot threads from previous flicks while catching audiences up with Mike and Marcus’ latest life changes. In the new movie, Marcus suffers a heart attack at Mike’s wedding, and the aftermath shows a flip in their usual dynamic: Marcus gains perspective and a newfound sense of immortality, while Mike begins to suffer panic attacks when he realizes how his job puts loved ones in danger.

They just need to figure their stuff out on the run. When their dearly departed boss Captain Howard (Joe Pantoliano) is accused of corruption and linked with drug cartels, Mike and Marcus make it their mission to clear his name with the help of the man who killed him: Armando Aretas (Jacob Scipio), revealed in the last film as Mike’s son. The detectives discover a deep conspiracy at foot, are framed for murder by a villainous ex-intelligence operative (Eric Dane) and wind up fugitives alongside Armando with a $5 million bounty on their heads.

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“Ride or Die” packs in a ton of exposition, subplots, extended action sequences, character moments and cameos (from Tiffany Haddish to DJ Khaled) in less than two hours. Although efficiency is welcome in today's age of the bloated run time, bits and pieces narratively fall into place sometimes too easily − though honestly, who comes to a “Bad Boys” movie looking for story logic?

It does deliver on the mayhem front: El Arbi and Fallah craft a nifty airborne spectacle where Mike and Marcus fight goons and G-forces to escape a crashing helicopter, an appetizer for a flaming car chase through Miami and a wild bullet-ridden affair at an abandoned amusement park. And Smith and Lawrence’s chemistry is as infectious as ever, yet they thankfully don’t even try to be the same guys they were in ’95.

The bickering is still there, as is the fist-bumping swagger, but the stars bring more of a relatable groundedness to Mike and Marcus. When not dealing with angry rednecks or backstabbing exotic dancers, Mike tries to keep Marcus from eating Skittles for his health, and Marcus has to slap Mike to snap him back into reality in a bad situation. (That scene, given Smith’s 2022 Oscars incident with Chris Rock , feels both too soon and knowingly pretty funny.) Interestingly, neither of the main men factor into the movie’s most rousing sequence − that centers on Reggie (Dennis McDonald), who was introduced as a mousy teen in 2003’s “Bad Boys II” but shows his mettle here as Marcus’ Marine son-in-law.

While many Hollywood franchises are flailing, “Bad Boys” instead enjoys a renewed relevance thanks to revved-up emotional stakes and a couple of old favorites still at the top of their game.