movie review copyright

How do you avoid copyright claims on movie reviews?

• November 11, 2023
• Use the bare minimum amount of footage, down to the frame.
• You must comment on the specific copyrighted work, such as the cinematography or performance unique to that specific clip.
• Avoid anything owned by notoriously hardline rightsholders like Viacom and Nintendo.

What do I say to avoid copyright claim?

How do you avoid copyright on movies, can you use copyright material to write a movie review, how much do you need to change something to avoid copyright, copy & paste motivational videos on youtube and earn $500 per day (full tutorial).

Are reviews protected by copyright?

Can u use 5 seconds of a movie without copyright, how many seconds of a movie can i use without copyright, can you use movie quotes without copyright, can you avoid copyright by giving credit, what are the 4 ways you can infringe on copyright, what are two examples of copyright infringement.

• Illegally downloading music files.
• Uploading someone else's copyrighted material to an accessible web page.
• Downloading licensed software from an unauthorized site.
• Modifying and reproducing someone else's creative work without making significant changes.
• Recording a movie in a theater.

How many seconds of a movie clip is fair use?

What is copyright disclaimer for movie review, which movies are copyright free.

• St. Louis Blues.
• Popeye the Sailor Meets Sindbad the Sailor.
• The House I Live In.
• The Middleton Family at the New York World's Fair.
• Master Hands.
• The Memphis Belle: A Story of a Flying Fortress.
• All my babies...a midwife's own story.

How does copyright work when showing a movie?

Is it legal to use clips from movies, can i monetize movie review channel, how do youtubers use clips from movies, how many minutes does a movie have to be to be considered a movie, what is an example of fair use, how do you avoid copyright work.

• Do not copy anything. ...
• Avoid non-virgin development. ...
• Avoid access to prior design work. ...
• Document right to use. ...
• Negotiate for enhanced warranty and indemnity clauses. ...
• Document your own work.

Are reviews protected under fair use?

What qualifies as fair use.

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Movie footage and fair use for a video review

Thousands of people review movies daily on services such as YouTube. Most of these are by independent, unfunded individuals. So, I doubt those individuals have permission from movies' copyright holders.

There is a large gray area here. On one end, if one were to post an entire movie on YouTube, that would obviously be illegal. On the other, one could post a blank video with only a voice-over review. I believe fair-use would allow this.

Now, what about in between? Some examples, in all cases assume that there is a voice-over talking about the content of the film:

• A review that consists of still images taken directly from the movie.
• A review that consists of short clips taken directly from the movie. I have used sequences of the copyrighted material.

Either way, assume that the videos are monetized, through services such as YouTube Ads.

After several hours of research, I cannot find the answer. There must be a line between legal and illegal, however vague it may be. Is there?

Another factor I have thought about is the source of the content. Not sure how that would play into this.

• united-states

• 2 "There must be a line": Why should there be? Legislatures make general laws, and courts interpret them only as they apply to the specific cases that come before them. –  Nate Eldredge Commented Aug 13, 2021 at 20:43
• 1 That is why I said "however vague it may be." I guess its too hard to determine without a specific example? –  Oliver Commented Aug 13, 2021 at 20:46
• 1 Does this answer your question? Using (presumably) copyrighted materials in reviews –  user4657 Commented Aug 14, 2021 at 0:25
• 1 @Nij UK copyright law is different than US law, so that duplicate is not well-suited. –  Ryan M Commented Aug 14, 2021 at 0:45
• Jurisdiction is at best a suggestion here. The question asks the same thing, and we are meant to avoid creating repeated questions for every individual places that might have laws. –  user4657 Commented Aug 14, 2021 at 6:34

2 Answers 2

The line is not between "legal" and "illegal" but between "fair use" and "infringement". Note that infringement is (usually) a tort, not a crime, and nothing happens unless and until the copyright holder chooses to take action.

Also, the line on fair use is intentionally one of the most fuzzy in law, it is always dependent on the specific facts of the situation.

All that said, commentary and criticism is one of the central purposes of fair use, and is in general quite likely to be a fair use. More specifically, if the review:

• Comments on the movie being reviewed, it does not just summarize the plot;
• Uses only those stills or clips needed to illustrate or support the point(s) that the review is making;
• Makes specific comments on each scene or shot included in the review;
• Clearly credits the movie and its publishers;
• Makes it clear what is part of the movie, and what has been added by the reviewer;
• includes only a relatively small part of the over all movie being reviewed;
• Does not serve as a replacement for the movie. That is, most people will not feel after seeing the review that they have in effect seen the movie, and that they have no need to actually buy a ticket or rent a video to experience it. Because of this including any clip that might be considered "the heart of the work" or the "vital scene", particularly any big reveals, might be unwise.

then the review is quite likely to fall under fair use. It does not matter if the review is formatted as a voice-over, or as a talking head intercut with clips, or in some other way. Monetizing the review will not matter much, unless perhaps the main reason for people to watch the review is to see clips.

I m not sure what you mean by "the source of the content" Surely the source of any clips or stills in=s the movie. If they were obtained via a pirate site, that will probably not matter unless the review links to the pirate site, which it should not do.

I'd say first of all that you're probably making this more difficult than it needs to be.

Movie studios aren't normally going to be interested in shutting down movie reviews. They want you to talk about their movies, and they want you to show clips from their movies -- so much so that many of them will simply add you to their press list just for asking.

If you ask to be put on their list of electronic press kits, the studios will proactively send you stills and clips for inclusion in your reviews. In that case, you're operating under a license from the studio, and there's no need for a fair-use inquiry.

But even if you can't get on to that list, it's pretty clear that what you're talking about would be fair use. You can read more about the standards for a full fair-use analysis here , but the key question in your situation is going to be whether the use is transformative, and it's pretty firmly established that commentary is transformative:

The central purpose of this investigation is to see, in Justice Story's words, whether the new work merely supersedes the objects of the original creation, or instead adds something new, with a further purpose or different character, altering the first with new expression, meaning, or message; it asks, in other words, whether and to what extent the new work is "transformative." Although such transformative use is not absolutely necessary for a finding of fair use, the goal of copyright, to promote science and the arts, is generally furthered by the creation of transformative works. Such works thus lie at the heart of the fair use doctrine's guarantee of breathing space within the confines of copyright, and the more transformative the new work, the less will be the significance of other factors, like commercialism, that may weigh against a finding of fair use.

Campbell v. Acuff-Rose Music, Inc. , 510 U.S. 569, 579 (1994) . See also Video Pipeline, Inc. v. Buena Vista Home Entm't, Inc. , 342 F.3d 191, 200 (3d Cir. 2003) ("The fact that a substantial portion, indeed almost all, of the infringing work was copied verbatim from the copyrighted work with no additional creative activity reveals a dearth of transformative character or purpose.").

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Copyright and Fair Use : Showing Films, Videos, and TV Programs

Showing films, videos, and tv programs.

• What is Copyright?
• What is Fair Use?

Adapted with permission from University of Pittsburgh Library System

When you want to perform, display, or show a film, video, or TV program for teaching, training, or entertainment, you have to consider the rights of the those who own the copyright to the work you want to use.

Copyright owners have certain rights, which are commonly known as public performance rights (PPR). When you're using a film, video, or TV program for teaching or educational purposes, this is often considered a fair use under U.S. copyright law. In other cases, especially when the film, video, or TV program is being shown as part of an event, you need permission--often in the form of a public performance rights license--to show the work.

What Are Public Performance Rights (PPR)?

Under  U.S. copyright law , copyright owners have certain "exclusive rights." When you want to show a TV program, video, or film or when you want to broadcast or perform music (whether it's live or recorded), you have to consider the rights of those who own the copyright to the work you want to use.

Copyright owners have certain "public performance rights," such as the right to

• Perform their work publicly--if it’s a literary, musical, dramatic, or choreographed work, or if it’s a pictorial, graphic, or sculptural work
• Display their work publicly--if it’s a literary, musical, dramatic, or choreographed work, or if it’s a pictorial, graphic, or sculptural work
• Perform their work publicly through digital audio and/or video transmission--if it’s a sound or video recording

There are exceptions to these exclusive rights, allowing faculty, students, and others to use audiovisual works to meet nonprofit, educational needs. These exceptions allow for the  fair use of copyrighted works .

Films, Videos, and TV Programs

In general, any time you plan to show a film, video, or TV show  to the public— that is to say, "anyone attending a film screening/showing in an auditorium, theater, or any other kind of unrestricted open space, either indoors or outdoors" (Tammy Ravas,  Media Resources LibGuide ,  University of Montana)—you must first seek permission to do so from the film’s copyright owner(s). The film’s format or whether or not you are charging admission does not matter: You still need to seek permission. This permission comes in the form of a license from the rights holder called a PPR (public performance rights) license.

There are some exceptions to this rule:

• Faculty and instructors at nonprofit, educational institutions, such as Lincoln University, can make  a fair use defense under U.S. copyright law  to use films, videos, and TV programs as part of teaching. However, what constitutes "teaching" under U.S. copyright law is very specific: It doesn't mean that just because we're at a university, all on- or off-campus uses of films, videos, or TV shows are considered fair.
• If the film or video is in the public domain, you should be able to show the film or video in public. It may depend on whether the work is  really  in the public domain. It can be difficult at times to determine the copyright status of any work, whether text or video.
• If the film or video is licensed under  Creative Commons  or another "copyleft" license, you should be able to show it in public. Pay attention, however, to the specifics of the license. For example, some works licensed under Creative Commons (CC) may have a non-commercial (NC) designation, which may impact how or where you show a film or for what purpose.

In the Classroom

According to the  Section 110 (1) of the U.S. Copyright Act , the performance or showing of films in the classroom (or a similar venue) as part of “face-to-face” teaching at nonprofit educational institutions (such as Lincoln) is covered under the fair use exception. Viewing must be limited to only those enrolled in the course. Showing films in an analogous fashion as part of distance education or hybrid courses also qualifies as fair use under the TEACH Act, which is incorporated in  Section 110 (2) of the U.S. Copyright Act .

There are noteworthy exceptions pertaining to remote locations and unlawfully acquired or made copies of audiovisual materials. See the Association of Research Libraries (ARL) “ Performance of or Showing Films in the Classroom ” for further advice and examples.

Outside the Classroom

The performance or showing of films, videos, and TV programs in a similar venue (i.e., not necessarily a classroom) for face-to-face teaching is covered under the fair use exception of U.S. copyright law. Showing films in a similar fashion as part of distance education or hybrid (both face-to-face and online) courses also qualify as fair use under the TEACH Act, which is incorporated in  Section 110 (2) of the U.S. Copyright Act .

In both cases, the display or performance must be limited to those enrolled in the course. The display or performance cannot be open to the public or freely available via the Internet.

The main point here is that the venue for teaching does not have to be limited to a traditional classroom. However, the film's use for teaching or educational purposes does need to follow the parameters set out by the Copyright Act and the TEACH Act.

When Showing Is Not Part of a Course or Class

In general, the performance or showing of films for public viewing does not fall under the fair use exception. It does not matter whether the showing is free or whether admission is charged; this is not considered a fair use under U.S. copyright law.

Often in this situation, you will need to seek permission from the copyright owner by acquiring a public performance rights (PPR) license in order to show the work. Generally, there is a charge for a PPR license, one that can range from $100 to $1,000, depending on the work and who owns the copyright. The library cannot acquire PPR licenses for films for you or your group.

Student Groups, Clubs, and Organizations

Often the performance or showing of films for by university-affiliated student groups, clubs, and organizations may not fall under the fair use exception of U.S. copyright law. The intent of such showings is generally for entertainment, not for face-to-face teaching.

In such a case as this, you will need to seek permission from the copyright owner by acquiring a public performance rights (PPR) license in order to show the film, video, or TV program.

However, according to copyright lawyer and specialist, Kevin D. Smith in  Owning and Using Scholarship: An IP Handbook for Teachers and Researchers,  there may be a fair use defense for student groups showing a video if the showing is done for truly educational purposes. For example, if a student group is "discussing a topic related to the curriculum or in some other way that is clearly educational" (p. 102), it might be possible to use the fair use exception under U.S. copyright law to show a film to the group without acquiring a PPR license.

Such a group would have to be specific and limited and use must be for educational or curricular purposes.

This, like much in copyright law, is an "it depends" situation. Student groups should consult with sponsors, governing bodies, or university officials and policies to determine what the university allows.

Film Series

The performance of or showing of films for public viewing (whether admission is charged or not) as part of a film series does not fall under the fair use exception.

No matter how educational the setting may be or how tied to the curriculum the showing may be, this is generally considered a showing for entertainment purposes. Even if the showing is conducted by a student organization, such as a film society, this would still not be considered fair use.

Thus, in order to show the films, you will need to seek permission from the copyright owner by acquiring a public performance rights (PPR) license.

Training Programs

According to copyright lawyer and expert, Kevin D. Smith, showing films, videos, and TV programs as part of a training program for professional groups may fall under fair use. (See  Owning and Using Scholarship: An IP Handbook for Teachers and Researchers,  p. 102.)

Again, this may be an "it depends" situation. The group or entity interested in showing the film, video, or TV program may need to consult with sponsors, governing bodies, or university officials and policies to determine what is allowed.

Showing Clips or Excerpts

Using clips or excerpts from films, videos, or TV programs for teaching purposes is allowed under the fair use doctrine of U.S. copyright law. However, to use them, you need to  consider the four factors of fair use  and apply them to the number and amount of video clips being used.

According to  Copyright Law for Librarians and Educators: Creative Strategies & Practical Solutions  (3rd ed.) by Kenneth D. Crews, some of the points that those teaching should consider (pp. 74-75) include--

• The nature of the work:  Is it a feature film or an educational video? Is the film marketed for education? Is the work creative or simple, in the latter case consisting of news events or explanations?
• The amount of the work:  How long are the clips? Are they brief? Do they constitute the "heart of the work," i.e., the main point or thrust of the work? Does the length of the original video matter when considering how much to use?
• The effect of the use on the marketplace for the video:  Is the film or video readily available for purchase by students at a reasonable price? Is it a foreign film that is not easily findable, affordable, or usable (for example, a DVD with a non-North American region code)? Is it an educational film or a general, commercial work? Does the library or the university own a copy of the work (and thus has contributed to the market for the work)?

You can find out more about fair use, including online resources to help you make a fair use defense for your use, by visiting the University of Pittsburgh Library System's  "What Is Fair Use?"  webpage.

Obtaining a PPR License

Educational films and videos.

Some educational films, when purchased, may already have public performance rights. However, just because the film is educational in nature or produced by a nonprofit organization does not guarantee PPR are included. Such films or videos usually cost more than the average movie you'd buy on DVD or online (think a couple of hundred dollars, not $19.95). Educational films or videos with a PPR license generally may allow you to show the video in public on more than one occasion.

In general, the library does not buy educational films with PPR licenses.

Commercial films

While the library purchases commercial films (e.g., Hollywood-produced movies) for university use and educational needs, these films are not purchased with public performance rights. Permission to show or display the film must be acquired separately. Generally, the PPR license to use the film is good for only one time.

Generally, the cost for a PPR for a commercial film one that can range from $100 to $1,000, depending on the work and the copyright owner.

The library does not purchase PPR licenses for commercial films for Lincoln University students, staff, or faculty.

More about PPR Licenses

The section entitled “Showing Media Outside Classes (PPR)” in this  LibGuide  created by a librarian at the University of Montana may provide you with some direction on searching for and acquiring a PPR license for a film you want to show in a non-classroom, non-instructional setting.

There are a number of companies in the U.S. that offer PPR licenses for films. These include Swank Motion Pictures, Motion Picture Licensing Corporation, and others. The University of Montana LibGuide provides contact information for these companies.

Further Reading

Butler, Rebecca P.  Copyright for Academic Librarians and Professionals.  Chicago: ALA Editions, 2014.

Copyright Law of the United States and Related Laws Contained in Title 17 of the  United States Code .

Crews, Kenneth D.  Copyright Law for Librarians and Educators: Creative Strategies & Practical Solutions .  3rd ed. Chicago: American Library Association, 2012.

Smith, Kevin L.  Owning and Using Scholarship: An IP Handbook for Teachers and Researchers.  Chicago: Association of College & Research Libraries, 2014.

U.S. Copyright Office.  Copyright Basics  (Circular 1). Washington, DC: Library of Congress.

U.S. Copyright Office.  Fair Use . Washington, DC: Library of Congress.

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Copyright Infringement In Movie-Review Videos: A “Reel” Problem Or An Exception?

By Linh Nguyen

A video or a clip can go viral, and even become a new trend in the “fertile soil” of social media platforms like Facebook, YouTube, Instagram and TikTok, which continue to draw millions of visitors per day.

In recent years, these platforms have been inundated with movie-review videos that attract thousands, sometimes millions, of views, either in an incidental way or in an interactive way upon the user’s search.

Movie-review videos vs. movies

In general, a movie-review video is a video incorporating selected scenes from a movie to illustrate the reviewer’s perspectives, descriptions and opinions. It may disclose a tiny snippet or even the pivotal scenes from the movie.

We all know that in order to use copyright-protected materials, one must get permission from the owner, except in cases of “fair use” or “fair dealing”. This leads us to the question of whether making a movie review, which involves a copyrighted movie, is considered an exception or constitutes copyright infringement.

“Fair use” exceptions  

“Fair use” is a legal principle that “promotes freedom of expression by permitting the unlicensed use of copyright-protected works”. That means protected works can be used without being seen as copyright infringement. To determine fair use of copyrighted material, four criteria are taken into consideration:

• Purpose of use: Is it for commercial purposes or for nonprofit educational purposes?
• Nature of the copyrighted work: Is it factual? Is it unpublished? Is it of a style distinct to a particular creator?
• Quantity and quality of the portion of copyrighted material used: Is it a large or small portion? Is the portion the heart of the work?
• Impact of the use on the value or potential market of the copyrighted works: Is the exposure/use negatively affecting the market for the original work?

To balance the interests of the copyright owner and community, the above-mentioned criteria are common principles used for evaluation in different jurisdictions, despite each having their own regulations on fair use exceptions.

Are movie-review videos exempt from copyright infringement?

Upon assessing factors of the “fair use” doctrine, the window for movie-review videos to be considered an exception seems narrow. Under analysis, movie-review videos will hardly be considered “fair use” due to the following reasons.

• The use is mainly commercial in nature as the common purpose of making such videos is to attract views and increase traffic to the accounts for advertisements. Social, cultural and educational benefits are rarely found therein;
• The length of a video often ranges from 5 to 10 minutes which captures several portions of a movie, some may include spoilers or important scenes crucial to the plot of the movie. Thus, taking into consideration the quantity and quality of the copyrighted material, fair use is less likely to be found;
• Such videos impact the viewers’ experience of the movie and competes directly with the filmmaker. Instead of going to the cinema or purchasing a subscription to Netflix, etc. to watch movies, people may watch these free videos as they are convenient, consume less time and still capture the essence of the movies.

  In the context of Vietnam IP Law…

  From the definition of derivative work under the Law as “ a work translated from one language into another; or an adapted, modified, transformed, compiled, annotated or selected work” , movie-review videos can be considered a kind of derivative work.

Prior to the enactment and implementation of the Amended Law 2022, anyone intending to create a movie-review video must ask the author of the movie in advance, otherwise it would be considered an infringing act as stipulated under Article 28.7 of Vietnam IP Law.

  “Article 28. Conduct constituting infringement of copyright

• Making a derivative work without permission from the author or copyright holder of the work used for making such derivative work, except in the case stipulated in sub-clause (i) of article 25.1 of this Law.”

  It can be seen that under this provision, there is no allowance for movie-review videos. However, subsequent to the issuance of the Amended Law 2022, effective since 1 January 2023, Article 28.7 has been removed. As such, authors of derivative work have some room to maneuver for creation of works under “fair use”. The related legal statutes are copyright exceptions under Article 25.1 and copyright infringing acts under Article 28.3.

Nevertheless, those intending to make movie-review videos should be careful as having “room to maneuver” does not mean that all use of copyrighted material will be considered fair-use or non-infringing.

Need advice on your copyrights? Contact us via  [email protected]  for expert consultation on the registration and enforcement of your IP rights.

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How to Write a Movie Review

Last Updated: August 11, 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 5,648,142 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

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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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Breanna Lukes

Oct 17, 2018

Mar 31, 2021

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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.

Watch: Christopher Nolan's Best Films Ranked

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What is Film Review in Cinema?

First, let’s define film review.

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

FILM REVIEW DEFINITION

What is a film review.

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

Criteria for Movie Review:

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

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

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

Roger Ebert What A Movie Review Should Do

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

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

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

One Way To Deconstruct There Will Be Blood

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

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

What is Film Review Important For?

Influence of film reviews.

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

Attracting Viewers

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

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

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

The Problem With Rotten Tomatoes

Box office success.

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

Influence on Perception

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

Critical Acclaim

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

Parasite’s Historic Oscar Wins in 2020

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

Related Posts

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

Movie Review Example and Writers

Iconic film review writers.

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

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

Roger Ebert

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

Pauline Kael

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

Pauline Kael on Criticism

Andrew sarris.

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

Leonard Maltin

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

Leonard Maltin's Movie Guide

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

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

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

How Does Rotten Tomatoes Work?

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

Up Next: Rotten Tomatoes Explained →

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How to Write a Movie Review (5 Top Tips)

5-minute read

• 1st July 2019

Fancy being the next Roger Ebert ? Then check out the latest blockbuster or arthouse flick, and let the world know what you think! But what goes into a good movie review? We have a few review writing tips to share:

• Watch the movie carefully (more than once if possible) and take notes.
• Tailor your writing style and the focus of your review to your audience.
• Look at every aspect of the movie, including its story, acting, and technical qualities (e.g., direction, visual design, costumes, sound).
• Justify your opinions (i.e., give reasons for why you think a movie is good or bad, rather than just saying that you enjoyed or disliked it).
• Try to avoid spoilers, especially for new releases.

Read on to find out how to put these tips into practice in your next review.

1. Watch the Movie and Take Notes

When we say you should watch the movie you’re planning to review, we mean you need to really watch it. No popcorn. No whispering to friends. Just eyes on the screen. Ideally, you should even try to see the film more than once before reviewing it (although this isn’t always possible).

You may also want to take notes so you can use them when writing a review. Do this on paper, though; no illuminated screens! And it is usually better to save note taking for a second viewing, as you might miss something first time round if you’re busy scribbling in a notebook.

2. Think About Your Audience

Who you are writing for will have a big influence on how you write. Most importantly, you need to think about how much your target audience already knows about cinematic techniques and history.

For example, saying that a scene “evokes memories of Eisenstein’s approach to montage, manipulating the viewer by juxtaposing images of hope and fear” would be fine if you were writing for an audience familiar with cinematic theory (e.g., film students or professionals).

But such remarks may be lost on a general audience, who might just want to know whether it’s worth paying to catch the new Mission Impossible at the theater. As such, you should think about what your readers might want to know and tailor your review accordingly.

3. Look at the Whole Movie

A movie works on multiple levels, all of which should factor into your review. Questions you might want to ask yourself include:

• Story – How does the movie tells its story? Are the characters believable? Is the ending satisfying? Does it feel too long or short at all?
• Acting – Who are the actors? Do they suit the roles? Do any performances stand out? Does it feature any big stars or any upcoming talents?
• Technical Qualities – Is the film well made, including the direction, visual design, costumes, sound, music, and any visual or special effects used?

This isn’t to say you can’t write about whether you enjoyed the movie, too! Most people are happy to overlook, e.g., some dodgy acting if they’re enjoying the spectacle of a Hollywood blockbuster. So how much you focus on each of the above may depend on what you’re watching.

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Watching a movie more than once can be very helpful in this respect. The first time, you can watch it as a regular “viewer,” thinking about the film overall and how much you enjoyed it. And if you see it again, you can focus on specific elements in more detail, taking notes as you watch.

4. Back Up Your Opinions

Letting your reader know whether you liked a movie is, of course, a big part of reviewing it. You can even use a score or star rating, offering a simple summary of your overall opinion of the movie.

However, you should also explain why you like or dislike it. Is it the story? The performances? Something else? The amount you write to back up your opinions will vary depending on the type of review. A 200-word summary will have less detail than a longer review essay, for instance. But you should always try to offer some insight on why the film succeeds or fails.

You can even refer to specific scenes to explain yourself. However, if you do plan to go into detail about a movie you are reviewing, you may want to check out our next tip first…

5. Be Careful About Spoilers

Following on from the last point, if you mention particular scenes or details from a film, try not to give away story spoilers . Obviously, this is more important for new movies than old classics. And if you’re writing an in-depth critique, you will almost certainly enter spoiler territory. This is fine.

However, if you do mention anything that could spoil the story for new viewers, make sure to provide a spoiler warning before you give it away! Your reader can then decide whether to read on.

We hope this post has helped you with your movie review. And if you need someone to proofread your writing, we’re always here to help !

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There may be situations in which the reproduction of a photograph may be a “fair use” under the copyright law. Information about fair use may be found at Fair Use Index. However, even if a person determines a use to be a “fair use” under the factors of section 107 of the Copyright Act, a copy shop or other third party need not accept the person’s assertion that the use is noninfringing. Ultimately, only a federal court can determine whether a particular use is, in fact, a fair use under the law.

Letterboxd — Your life in film

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Take your first step into a larger world…

Sign in or register to get started. We’re your home for logging, rating and reviewing films, your watchlist of titles to see, your source for lists and inspiration, a cast and crew database and an activity stream of passionate film criticism, discussion and discovery.

How Letterboxd works

Tell us what you’ve seen

Get your Letterboxd underway by visiting our Popular section and marking a few films you’ve seen. Click the ‘eye’ on any film poster to tell us you’ve watched it (add a ‘like’ if you liked it and/or a rating). We add all watched titles to your Films tab and then we can show you reviews containing spoilers (usually hidden) and other cool stuff. If you’re Pro we compute detailed stats based on all your watched films (see below ).

Browse your watched films

Now that you’ve added some films, you can find them in the Films tab of your profile. As you add more content, your profile starts to reflect your taste. You can also browse the films of other members, or the community , with Hide watched films activated to find more great films to watch.

If you’ve previously saved film-related activity at IMDb or another service, we can help you import this, too.

Save films to watch later

One of our most-loved features, the Watchlist , lets you keep a list of films you want to see. Start in Most Anticipated and mark a few films you want to see—use the ‘clock’ on a film or review page, or open the options menu on any poster (shown opposite). If you subsequently log or mark a film as watched, we’ll move it from your Watchlist to your Films (and add it to your Diary , if you provide a date—more on that  below ).

Your account, profile and settings

Click your username (at the top of each page) for shortcuts to the main sections of your account. Your Profile , Films , Diary , Watchlist and other pages are here.

You can customize your name, location, website, bio and favorite films in Settings . We use your X / Twitter avatar if you connect your account, or a Gravatar matching the email on your profile.

Note: your profile (and any other content you publish, with the exception of private lists) is visible to others, and to search engines.

Log a film to tell us you watched it on a particular date, and to attach a review, rating and tags. We put all films you log with a date into your Diary , a great reference for when it comes time to compile your year-end list.

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"Are you lost?," an old lady at the mall asks sad-sack Renn Wheeland ( Nick Jonas ) during one of his omnipresent bouts of millennial ennui . It's the kind of innocuous statement that, when revealed in stark close-up, is meant to convey a broader thematic underpinning in Robert Schwartzman's weepy indie dramedy "The Good Half." You see, Renn is lost, in the way so many sad white boys in movies like these are: His mom ( Elisabeth Shue ) has recently passed, and he's too emotionally stunted and cynical to deal with it in any sort of healthy way. So, too, is Brett Ryland's script, sadly, Schwartzman's limp direction guiding a listless Jonas through a half-baked meditation on grief that feels too twee by half.

The bastard stepchild of " Garden State " and " Elizabethtown ," "The Good Half" feels too measured to work as melodrama and too mannered to be mumblecore. From its opening minutes, featuring Jonas lying expressionless in bed as the opening titles appear, Schwartzman lacquers this whole thing with a syrupy haze of melancholy, as if channeling Zach Braff on a hefty dose of Benadryl. Renn, you see, is your prototypical Disaffected White Boy, an obnoxiously passive stand-in for the screenwriter's obviously autobiographical journey. He's an aspiring screenwriter plugging away in LA, fighting off overtures from his boss to take a modest promotion ("you'd be  supervising the  payroll ," he offers) because he fears it'll make him lose his dream. But naturally, his mother dies, and he takes the first flight out to his hometown of Cleveland, Ohio to deal with his family and bury her.

Renn's relationship with his family, and his mother specifically, is complicated in that first-draft screenplay kind of way. In flashback, we see his mother as the kind of free-spirit that's fun to be around but dangerous to trust: a formative memory for Renn is being abandoned at the store while Mom stole trinkets and tried on clothes she'll just end up returning. He's avoided seeing his family for months as Mom wasted away from cancer. So his father ( Matt Walsh ), stepfather ( David Arquette ), and sister ( Brittany Snow ) are all various flavors of angry at him. And his snarky, cynical attitude doesn't help, Ryland sneaking one obnoxious quip after another in Renn's mouth, Jonas delivering them with all the conviction of (ironically) a eulogy. Sure, he's supposed to be masking his grief through humor, but neither him nor his family enjoy it, so we don't either. 

One of his few lifelines outside his well-meaning but thinly drawn family is Zoey ( Alexandra Shipp ), a quirky girl he meets on his flight home, where they bond over whether or not all '90s action movies are masterpieces. She's the kind of Manic Pixie Dream Girl archetype you'd think we'd left behind in the late 2000s, yet here she is with her infectious personality (she's  so likable that she makes two new best friends that morning who follow her to karaoke) and oh-so-charming witticisms (e.g. referring to their current locale as "the land of Cleve"). On top of all that, she's a therapist, thus serving double duty as Renn's romantic  and emotional support. She's literally tailor-made in the script to fix him, and Shipp gets little to do besides that. 

Schwartzman's approach is sluggish and poorly-paced, the film color-corrected to within an inch of its life and unable to balance the delicate tightrope act of comedy and drama that good examples of this kind of movie can attempt. Instead, it's didactic and miserable, one scene after another hammering home the bone-simple idea that it's not easy to grieve a loved one. The flashbacks serve little purpose but to undercut Renn's contention that his mother "hated" her life, and the occasional slow-motion needle drop sequence feels like a limp attempt to throw a Wes Anderson or Zach Braff flourish at the film to impose some kind of style on the whole thing. It feels derivative, and just doesn't work. 

Early on, Walsh's put-upon father confesses to Renn that he has no idea how to help his kids through their grief: "I feel like I should tell you something profound, like quoting Thoreau or something." This line is more revealing than you'd think; "The Good Half" is desperate to say something profound about the thorny nature of grief and how it forces us to confront the scary future we face without that person we love most in the world. But there's nothing new here that hasn't been cribbed from better, or even just earlier, texts. Instead, like Renn himself, Schwartzman and Ryland keep themselves (and us) at a distance from the material and our characters, keeping any of us from getting any closure or finding something new to say about such a universal experience. 

Clint Worthington

Clint Worthington is a Chicago-based film/TV critic and podcaster. He is the founder and editor-in-chief of  The Spool , as well as a Senior Staff Writer for  Consequence . He is also a member of the Chicago Film Critics Association and Critics Choice Association. You can also find his byline at RogerEbert.com, Vulture, The Companion, FOX Digital, and elsewhere. 

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'Alien: Romulus' is another franchise movie that brings more nostalgia than novelty

Justin Chang

Alien: Romulus is the latest movie in the long-running Alien sci-fi/horror series. But it actually takes place shortly after the events of the very first film: Ridley Scott’s 1979 classic, Alien . 20th Century Studios hide caption

If you’ve gone to the movies lately, you might have noticed — or even purchased — one of those novelty popcorn buckets promoting the year’s big blockbusters. Maybe you dug into the gaping maw of a Dune: Part Two sand worm — or, more recently, into the hollowed-out head of Deadpool or Wolverine.

Now, there are at least two popcorn-bucket models promoting the new movie Alien: Romulus . One is shaped like the head of a Xenomorph, that most terrifying of horror-movie demons, though I suspect without the drooling retractable tongue. Another bucket comes affixed with a Facehugger, a skittering critter that’s famously fond of attaching itself to a human’s head and laying an egg in their throat.

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These concession-stand gimmicks may be new, but the iconography of Alien: Romulus could hardly be more familiar. That’s no surprise; these monsters, brilliantly conceived decades ago by the Swiss artist H.R. Giger, have kept this series alive. In recent years Ridley Scott, the director of the unimprovable 1979 Alien , has tried to push the franchise in a more philosophical direction, in movies like Prometheus and Alien: Covenant . By contrast, Alien: Romulus , which was directed and co-written by the Uruguayan filmmaker Fede Alvarez, has no such weighty ambitions. It’s an efficient and reasonably entertaining thriller that, like a lot of franchise movies nowadays, traffics more in nostalgia than novelty.

Álvarez does set his sights somewhat high; he means to take us back to the franchise’s glory days. The story, set in the year 2142, is sandwiched between the events of the first Alien and James Cameron’s hugely entertaining 1986 sequel, Aliens . As in those films, starring the incomparable Sigourney Weaver, there’s a tough-minded female protagonist. Her name is Rain, and she’s played by Cailee Spaeny, the versatile young actor from Priscilla and Civil War . There’s also a friendly, not entirely reliable android sidekick — Andy, played by the English actor David Jonsson. We’re in a period that you might call late late capitalism, where villainous corporations rule the day and Rain, like most people her age, is part of a heavily exploited labor class, working off debts that will never be repaid.

Cailee Spaeny as Rain Carradine in Alien: Romulus. 20th Century Studios hide caption

And so when she and Andy hear of a possible way out, they seize the opportunity along with a few friends — never mind that it means heading up into space and boarding a large rustbucket ship that’s not quite so abandoned as it appears. The ship has two sections, named Remus and Romulus, which partly explains the Roman mythology-referencing title. As for what lurks aboard the ship, Álvarez knows there’s no point in building mystery or suspense, and he unleashes his army of Facehuggers and Xenomorphs almost immediately. His human characters, however, do intend to put up a fight.

Álvarez has a knack for rebooting horror properties, having made his debut with a fresh 2013 spin on Evil Dead . He followed that with the walking-on-eggshells thriller Don’t Breathe , about a group of young burglars trying to rob a blind homeowner. There are actually some amusing plot similarities between that movie and Alien: Romulus , right down to a third-act twist that pushes things into see-it-to-believe-it body-horror territory.

Álvarez is a strong director of action, and he riffs inventively on classic Alien beats. The Xenomorphs, as usual, have corrosive acid for blood — a detail that the movie exploits ingeniously in a suspenseful, gravity-defying set-piece. And there’s at least one memorable moment that reminds us that the Xenomorphs, with their phallic heads and goopy secretions, are among the most psychosexual of cinematic nightmares.

In the end, though, Álvarez’s command of craft only gets him so far. The problem isn’t just that the characters, apart from Rain and Andy, are pretty bland monster fodder. It’s that while the director seems content to update the Alien movies — with young, fresh faces and state-of-the-art technology — he has no apparent idea how to push them forward. His boldest and least successful gambit is to resurrect a key figure from an earlier film — a visual-effects coup that tries to honor the series’ roots, but feels more like a desecration. I’ll never pass up an Alien movie, but I do hope the next one has something more than elaborate fan service in mind. Dwelling too obsessively on the past is no way to guarantee a franchise’s future.

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‘The Deliverance’ Review: Lee Daniels Directs a Demonic-Possession Movie in Which the Real Demons Are Personal (and Flamboyant)

Andra Day plays a tormented and abusive single mother fighting the devil in herself. Then the real one shows up.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

• ‘The Deliverance’ Review: Lee Daniels Directs a Demonic-Possession Movie in Which the Real Demons Are Personal (and Flamboyant) 1 day ago
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As a filmmaker, Lee Daniels tends to get slagged off on for being flamboyantly garish and over-the-top. Some of that is deserved, but the truth is that when he’s cooking on all cylinders Daniels is a gifted filmmaker. “ The Deliverance ” is the sixth feature he has directed, and I’ve been a fan of three of them: “Precious” (2009), his extraordinary tale of a stunted inner-city teenager’s escape from her domestic hell; “The Paperboy” (2012), a bold and unnerving Southern gothic noir; and “The United States vs. Billie Holiday” (2021), a musical-political biopic that, while flawed, did a superb job of channeling its subject’s complicated ferocity.

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Ebony, whose temper has gotten her jail time, struggles with alcohol but seems, these days, more sober than not. Yet even when she isn’t drinking, we see her smack Dre in the mouth at the dinner table because he spoke up about wanting milk, accusing her of being too cheap to buy it (she says that he’s lactose intolerant but she’s never been to a doctor about it). Is Ebony the film’s equivalent of Mary, the monster mother played by Mo’Nique in “Precious”? Far from it, yet there’s an overlap. She’s a mother who’s been coarsened, at times, into meanness. She’s also quite protective, unleashing her hellion wrath on a teen bully down the block.

What Daniels wants us to see is that Ebony is a conduit for forces of oppression — economic and racial — that have dogged her life and turned it into a daily pressure cooker. The movie makes no excuses for her, but it does show us that her demons overlap with society’s. And Day, with a face of expressive misery and the energy of an imploding firecracker, portrays her as a shrewd fusion of harridan and victim. Mo’Nique is actually on hand here — she plays the DCS officer who oversees Ebony like a prim detective, looking for any sign that she’s messing up and should therefore have her kids taken away.

For all of Day’s searing anger, the showboat performance in “The Deliverance” is the one given by Glenn Close as Berta, Ebony’s white mother, who has come to live with them. Berta is a reformed junkie who found Jesus and is now going through chemo, which has left her head with nothing but scraggly wisps on top. But she wears wigs of showy blonde curls and goes out in revealing tops, flirting like mad. Berta is at war with her daughter, but she also, you know, cares . And it’s fun to see Glenn Close cut loose, in what is actually a rather well-thought-out performance, even if the character makes her Mamaw in “Hillbilly Elegy” look understated.

The kids start doing weird things. Dre bangs on the basement door and then stands there like a zombie. At school, all three engage in a bizarre acting out that involves bodily fluids. Is this a projection of their suffering from domestic abuse? Or are they being taken over by spirits? Yes and yes, and that’s supposed to be the film’s intrigue. But once the devil actually takes over, and an exorcist (excuse me, I meant an apostle , played by Aunjanue Ellis-Taylor from “Origin”) shows up, all in order to perform an exorcism (excuse me, I meant a deliverance , which turns out to be the exact same thing), Daniels reaches into the bag of levitating, skin-mottling, cracking-spider-limb tricks that have been propelling this genre for decades. The twist is that Ebony ends up squaring off against herself, literally facing down her own demons. But it turns out those demons were only halfway interesting when they were real.

Reviewed online, Aug. 15, 2024. MPA Rating: R. Running time: 112 MIN.

• Production: A Netflix release of a Tucker Tooley Entertainment, Lee Daniels Entertainment, Turn Left production. Producers: Lee Daniels, Tucker Tooley, Pamela Oas Williams, Jackson Nguyen, Todd Crites. Executive producers: Jackie Shenoo, Hilary Shor, Greg Renker, Gregoire Gensollen.
• Crew: Director: Lee Daniels. Screenplay: David Coggeshall, Elijah Bynum. Camera: Eli Arenson. Editor: Stan Salfas. Music: Lucas Vidal.
• With: Andra Day, Glenn Close, Mo’Nique, Aunjanue Ellis-Taylor, Anthony B. Jenkins, Miss Lawrence, Demi Singleton, Tasha Smith, Omar Epps, Caleb McLaughlin.

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‘The Good Half’ Review: Only Half Good

Nick Jonas and Brittany Snow play siblings coordinating funeral logistics for their mom in this drama, a cross between “Terms of Endearment” and a Hallmark movie.

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By Natalia Winkelman

“Grief turns out to be a place none of us know until we reach it,” Joan Didion once wrote. In “The Good Half,” that place is Cleveland, where 20-somethings with names like Renn, Leigh and Zoey frequent karaoke bars and banter about movies.

Renn (Nick Jonas) is a struggling writer in Hollywood flying back for his mom’s funeral. He is prone to avoidant behavior, the screenplay, written by Brett Ryland, shows and tells us, and his homecoming is a big deal. On the plane, he meets Zoey (Alexandra Shipp), a ray of sunshine who likes ’90s action movies and quotes “Scarface.”

In his fourth narrative feature, the director Robert Schwartzman (brother to Jason) takes us deep into young adult land. Over several days, Renn and his sister Leigh (Brittany Snow) coordinate post-loss logistics while rolling their eyes at Rick (David Arquette), their bellicose step-father. Breaking up the sibling repartee are periodic flashbacks to happier times with Mom (Elisabeth Shue).

When, and to which female listener, Renn will confront his demons is the question that drives “The Good Half,” which feels caught between “Terms of Endearment” and a Hallmark movie. Wry gags, like a hoarder priest, butt up against heartfelt exchanges. Snow, as the daughter who always played second fiddle, brings real feeling to her role — suggesting that she may in fact be the good half of this insipid drama.

The Good Half Not rated. Running time: 1 hour 36 minutes. In theaters.

‘Borderlands’ Review – A Soulless Studio Film That Deserves Its Failure

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When a movie sits in developmental hell for a decade and a half, that might be a sign to cut losses and save face rather than continue forward – especially when that movie can only be described as cinematic gruel.

RELATED: Take-Two CEO Responds To Abysmal Reception Of Eli Roth’s Live-Action ‘Borderlands’, Asks Fans To “Give The Film A Chance”

It’s been almost 15 years since the Borderlands video game franchise was at the height of its popularity. The first game that was released in 2009 and had sold about four-and-a-half million copies by the time Lionsgate decided that they were going to move forward with a film project. 

Given Hollywood’s long history of trying to create movies based on video games, many could tell from the jump that it was not going to end well.

Between 2015 and 2018, Borderlands saw a multitude of writers and directors jump on and off of the project. Then, by the time filmmaker Eli Roth agreed to serve in both roles for the film, a little event called COVID-19 happened, which further caused delays and irritation for the studio and resulted in most of this film being shot in 2021 while Hollywood was still operating under COVID guidelines.

From there, the movie was held up an additional two years before a series of reshoots were ordered. All of this ultimately led to here, the year 2024, where the film is finally seeing the light of day.

But even with a $120 million production price tag, you can tell Lionsgate didn’t have much faith in what they were releasing – and after watching the film you can most definitely tell why.

Borderlands begins with the character of Lilith, a rogue Bounty Hunter, being tasked with returning to her home planet of Pandora to find Tina, the missing daughter of a wealthy power player by the name of Atlas.

Reluctantly partnering up with a talkative robot named Claptrap, Lilith eventually completes her mission and finds the girl – However, she soon discovers that she may have bitten off more than she can chew, as she’s not the only one looking to find Tina and redeem her for whatever perceived value is attached to her.

Add in a miscast group of characters who have about as much chemistry as sodium and water, and you have a two-hour sci-fi action comedy that could go down as one of the biggest wastes of time that 2024 has to offer.

RELATED: ‘Borderlands 3’ Co-Lead Writer Takes Aim At Sweet Baby Inc. Critics, Claims Most “Have Never Created A Single Thing In Their Lives That They’re Proud Of, And The Rest Are Just Straight Up Bigots”

Folks, there’s no better example of the soullessness that consumes Hollywood than this.

Borderlands is a movie that doesn’t feel authentic for a single second of its runtime. The entire film comes off as a bunch of A-list Hollywood actors cosplaying at Comic-Con about a video game franchise they know less than nothing about just because a studio executive with even less knowledge greenlit the project because they thought there were going to make easy bank off the IP’s name.

For a movie that relies on the chemistry of its team, this is a team-up devoid of personality and charisma. The acting in this film comes off as if the actors took three bullet points of the character descriptions and decided to create their personalities as the film went on. No aspect of this movie builds any kind of emotional connection with its audience.

For example, take Cate Blanchett. Despite being an accomplished award-winning actress, Blanchett is horrendously miscast as the lead character of Lilith – as is basically everyone in this film, from Kevin Hart’s out-of-place performance as Roland and Arian Greenblatt’s laughably bad take on Tiny Tina, the list goes on.

And though many have made the comparison, to call Borderlands a rip-off of Guardians of the Galaxy would be an insult to the Marvel Cinematic Universe, even in its current form.

Ultimately, the best thing about this film is the bright and colorful scenery that the film brings to life through the use of a metric crap-ton of VFX green screens, with all the shiny visuals only working to in keep audiences awake 15 minutes longer than they would have otherwise.

Outside of rare exceptions like Sonic the Hedgehog , the concept of a ‘movie based on a video game’ does not typically result in a positive outcome. And unfortunately, Borderlands is yet another example of how what works for one medium absolutely does not work for the other.

(And of course, a good portion of the blame has to go on Eli Roth – You have to ask yourself, how much input did he have in this disaster of a movie that was at least 13 years in the making? A lot? A little? Either way, it turned out terribly.)

All in all, if you are a fan of the franchise, rather than wasting your hard-earned time and money to go see this soulless Hollywood effort masquerading as a summer blockbuster, you’re better off getting your Borderlands fix by dusting off your old PlayStation 3 and playing the original games for a few more hours.

(At least some of the jokes found therein might manage to make you slightly chuckle.)

NEXT: ‘Borderlands’ Star Jack Black Confirms Tenacious D Not Finished Following Kyle Gass’ Donald Trump Death Wish: “We’ll Be Back When It Feels Right”

Borderlands

• The Casting
• Boring And Forgettable Story

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Ryan's World the Movie: Titan Universe Adventure

Ryan's twin sisters Emma and Kate get trapped in a comic book world. Ryan enters this realm to rescue them, facing adventures, battles, and mishaps while attempting to bring them back before... Read all Ryan's twin sisters Emma and Kate get trapped in a comic book world. Ryan enters this realm to rescue them, facing adventures, battles, and mishaps while attempting to bring them back before his parents discover their disappearance. Ryan's twin sisters Emma and Kate get trapped in a comic book world. Ryan enters this realm to rescue them, facing adventures, battles, and mishaps while attempting to bring them back before his parents discover their disappearance.

• Albie Hecht
• Rose Frankel
• Larry Herrera
• 5 User reviews
• 1 Critic review
• 1 nomination

Top cast 14

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• Soundtracks Thunder Written by Imagine Dragons Performed by Pentatonix

User reviews 5

• Aug 15, 2024
• August 16, 2024 (United States)
• United States
• Pocket.watch
• Sunlight Entertainment
• See more company credits at IMDbPro
• $10,000,000 (estimated)

Technical specs

• Runtime 1 hour 23 minutes

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