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Collection of Film Review Examples

Shane Meadows is known to make films about his own experiences. This is Great britain is no exception. The theory for the movie came from the director s childhood, and it is the most personal film Shane Meadows has made up to now, as he said himself.

In an interview at the Uk Film Institute's Southbank theater in April, Meadows discussed his upbringing. "Yeah, every moment of joy in my life usually stunk of sadness. Each and every time I was just about to get anywhere someone caught a dart up my arse. That's how I remember growing up in Uttoxeter. When things were at their shittest, people appeared to be at their finest and when things were at their finest, people appeared to be at their most severe. . . "

The film starts off with a series of clips, introducing the audience to Britain in 1983. When viewing the intro, I got the sensation I am about to see some type of documentary, because of the footage being shown.

The mise en arena is fantastic in this part C to be perfectly honest, I got silly enough to believe it was actually taken in 1983 in the beginning, which makes me extremely uncomfortable.

The careful casting, costumes, collections and props makes it hard to trust the film was actually shot in 2006, making the story a lot more believable and much easier to enter.

The piece is come up with extremely well and the soundtrack comprises of the strikes from the eighties, which sets the mood properly.

The main persona is alone in the beginning C he doesn't genuinely have friends, he's being bullied at institution, he gets in a struggle with a boy, who makes fun of his useless father. But the movie discusses some sincere about issues like gang culture and racism, insufficient jobs and immigration, it still handles to make you laugh, like the tad when Shaun comes home home to his mom and complains about his trousers. In this manner not only are you amused and it takes off of the depressing spirits in the movie, but it also seems more real, less movie-like.

The movie is an average coming-of-age type of piece, where the main protagonist changes and matures as the story unfolds. His report basically starts when he crosses paths with skinheads and discovers belonging to an organization makes things easier. Each goes out hunting collectively, and this comes from a real account of the director s childhood. The group he joins is relatively harmless C compared to what lies ahead. The good times don t last long C quickly enough, Combo comes back from prison and steps up as the leader of the group. There's a feeling of anxiety building and although we see Shaun producing connection to Combo, who's now like the daddy figure the youngster never had, there is a strong sense something is going seriously incorrect. Soon everything should go from a group of young people, fooling around, to Shaun participating a National Front meeting. For me, a person, who isn t too politics, this movie is also educating C experiencing what life and politics were like in 1983.

In the movie we see Shaun becoming a man in a very short period of time. A very important scene in This is Great britain is when Shaun gets his mix tattoo. The director, Shane Meadows, gets the identical tattoo on a single finger. This marks Shaun, as a valuable member of the Skinheads, who agrees in which to stay the group for the rest of his life.

Although Shaun is now Combo's protegee and will get his undivided attention, we see that his marriage is needs to become dangerous and Combo is a terrible impact on the young son. Silly hunting video games that Shaun used to play with the prior skinhead group become real serves of assault in Combo s.

It must be known that the performance by Stephen Graham, who plays Combo, is simply astonishing C when the group robs the shop, the intimidation and hatred he created were so real and believable, for just one moment there I acquired in to the action a great deal, I was worried for the shop owner s life, and then realize it s just an professional.

In my estimation, Combo is just as important as Shaun, because the complexity of Combo s persona is what drives the storyplot. One second he's talking to Milky with esteem and dealing with him such as a sibling, the other, he bursts away and is better than him to death, which shows Shaun the true face of his precious idol, when the second option unleashes his fury even after his close friends.

The part ends with a reference to 400 blows, which is another coming-of-age film. The main character Shaun works to the ocean, which is considered to be a symbol of liberty and throws the Great britain flag in to the water, freeing himself and making clear that he is not returning to the group. The final shot, the same as in 400 blows, is him, finding out about at the camera, making a reference to a viewer. After all, this is exactly what Shane Meadows designed to do to begin with.

Pierrot Le Fou

by Jean-Luc Godard

Jean-Luc Godard

Jean-Luc Godard always said that he doesn t really plan his movies too carefully, and he will not intentionally leave any key messages in them. It really is all up to the audience, to make what he or she wants of computer.

After viewing it I believe Pierrot Le Fou is one of those videos that you either hate or love and it is certainly not for everyone C the plot here can be challenging sometimes and the primary characters hard to understand. Also, there are referrals to Vietnam Conflict, that i didn t even notice and thought it was another arbitrary element of the key heroes fooling around.

The movie is about Ferdinand and Marianne, a complicated couple who opt to run away together. They find one another, two misfits, and realize they would like to isolate themselves from the artificial reality they reside in. This is really well portrayed in the very beginning of the movie. We see Ferdinand in a party, which looks a lot like a parody for Television set commercials. The guests are talking about different products in such manner you would expect to find in a commercial. The effect of everything being artificial and faraway to Ferdinand is also strengthened with experimental light.

I think one of the very most brilliant views in the movie is at the same get together, when Ferdinand fits a movie director and talks about theatre with him. That is definitely self-referential, but it was also outstanding to observe the misconnection between your two of these, as a result of language hurdle. The funny thing is, when Ferdinand asks the American director what is cinema, although the woman translates the sentence completely wrong, requesting about his movie, not cinema generally, his answer, for me, is exactly right. It really is a battleground. It is love. Hate. Action. Assault and fatality. One expression C thoughts. This conversation, that might not leave a major impression on others, remaining me in awe of the script-writing for Pierrot Le Fou. Another thing that I recognized is the lighting changing, when he moves on from the TV-ad chat to the American director. It should go from red, which is usually considered a coloring of danger, alarm, understanding to renewable, which is calming, nature-like. It really is one other way of the director showing that Ferdinand is very interested and comfortable talking about the arts.

The colour pallette in Pierrot le Fou is very important; I'd say that at some details the colours even tell the storyline better than the action. I found two leading colors, which represent the key personas C red and blue. Blue is Ferdinand s coloring C he's often shot next to the blue sky, or the ocean, he drives a blue car and even paints his face blue, before committing suicide. I think the blue also symbolizes his figure, quite calm, tranquil, and even wintry sometimes.

Red, on the other hands, is the entire opposite which is the color of Marianne C she drives a red car, wears red clothes, and is merely a vivid, enthusiastic character.

Another important coloring in the film is yellowish, which is represents jealousy and betrayal.

Toward the end of the movie, we see the exchange of the colors C Ferdinand s brain, covered in a red headscarf, when being tortured; symbolizing the actual fact that it s all taking place because of his romantic relationship with Marianne. Also, the few exchanging vehicles and Ferdinand needs to wear a bright red shirt.

When Ferdinand and Marianne split, after Marianne taking the briefcase with her, we notice yellow blooms in the background.

When Ferdinand approaches the dock, where Marianne is departing on a boat, with her new lover, on his way there, red and yellowish are dominating in the backdrop. Ferdinand extends to the dock, where a single yellowish barrel is position, as he watches the girl he loves running away with another man.

The next shot of him is getting close to a man sitting the ground, performing. We now see yellow taking over, as it is seen, as Ferdinand strolls with his brain down.

When he is included, in leading there is a big yellow box, as though it was showing us that jealousy is traveling him to the island.

Ferdinand is walking by way of a field and singing Do you like me at the same time as he passes yellow flowers.

The yellow begins to dominate again, as he approaches and shoots Marianne. The climax of the is Ferdinand s suicide, when he is using the red shirt, painting his face blue, and wrapping himself with red and yellowish dynamite, which symbolizes Marianne s betrayal.

Pierrot Le Fou is definitely now one of my most liked films of all time, and has a wide variety of edges to it, that to decode the complete part would take me a long time, but I assume that is one of the reasons why I fell in love with it.

Meshes of the Afternoon

by Maya Deren

Although I am not a major enthusiast of surrealism, Maya Deren s film experienced much more so this means to me, than Dali s and Bunuel s work. Meshes of the Evening, for me, was less random, more carefully set and the symbols carefully picked to mention a note.

It s a movie about a woman s mind-set, her goal world and her simple fact mixing together in the long run.

This film, just like many surrealism films, can be an experience C you can watch it like you would watch a theatre or a comedy. You could call it brain exercise, if you wish. Through the entire film there are a lot of icons and the randomness at first might seem pointless, but the production is manufactured really carefully.

The film begins with a bloom, put in the middle of the road by a long female palm. We instantly realize this isn't heading to be a typical movie C both time and space are distorted C the hand originates from nowhere, and abruptly disappears.

The bloom, of course, symbolizes beauty, love and femininity. Immediately after this we visit a woman picking up the bloom, which implies it is a bit about her and her place, as a female.

The truth we do not see the key figure s face, creates anxiety and fascination with her motives.

As she attempts to open the entranceway, she loses the key and it falls completely down the stairs. To me the main element probably symbolizes answers, liberty and alternatives.

She enters the home and perceives things scattered all over the place C newspapers, a blade and a phone. Once again, I could only interpret it in my own way C a knife is an apparent risk, also a possible mark of a phallus. A telephone is most likely a representation of the key character s interconnection, in cases like this C with herself.

When she moves upstairs, she perceives a window open up, which can also be interpreted as a symbol of flexibility and escape. She notices an archive player working, however, not making any sound. I may not make clear why, but if you ask me the record player symbolizes her own life C it is playing, but there is absolutely no music, no purpose, so she turns it off.

Maya Deren maintains jumping from one spot to another C just like it would be in a goal. As we start to see the world through her eye, she converts her mind and discovers herself in a whole different room. That is all done to disrupt any sense of order and continuity.

When she comes asleep, in her dreams, we see the cloaked figure for the first time. After seeing the complete movie I could only interpret it as the mark of death, the Grim Reaper. This creature has a mirror for a face and it creates me speculate whether the primary character is following it, because she actually is desperate to look at the mirror and discover her true home. The cloaked shape is moving really slowly and gradually and the key character is running, but she cannot get even near getting up with it. This presents her conflicted persona and the difficult status her mind is in.

When she comes back to the home once more, the knife is currently on the stairway, in her way, indicating that it is unavoidable that she uses it.

After this we have a collection of shots, which increases the sense of a fantasy C slow motion of her footsteps, tilted camera sides as she climbs the stairs. Once again, the feeling of continuity is disrupted, as she enters the area through the window. The main identity discovers the telephone and the knife on the bed, which creates a feeling of unavoidable threat. She dates back to the screen and it looks like there is absolutely no gravity, a quite common aspiration that probably the majority of us have.

The main figure now looks down and recognizes herself sleeping in the armchair, with the record player by her aspect and transforms it off again.

The circle begins again, as she approaches the home window and recognizes herself jogging. This creates a sense of her being captured in a vicious group, with no chance to change it.

She then opens her mouth area and takes out the key, which to me symbolizes creating a answer to her fighting.

The cloaked shape is now inside your home and we get the sensation that fatality is arriving for the primary character.

When the cloaked shape disappears, the primary character sees the blade again, but this time around she doesn t look scared in any way C she appears like is now at peace with the fact she is going to die.

The key shows up in her oral cavity again and changes into a blade, which plainly symbolizes that fatality in the response.

The three representations of the key character now accumulate around a stand and play a bizarre surrealistic game, where they find out who will have to be the killer.

The chosen one is currently wearing strange eyeglasses, which to me feels like a symbol of her, not finding clearly.

I found it quite amazing, when the killer walks into the sleeping female and the environment change with each step C it begins with a beach, then she steps on turf, then sidewalk and then finally C onto the carpet inside your home. This, I think, represents the voyage you have to make, when deciding to kill yourself. It is most likely the hardest thing you could ever before do and the steps represent exactly that.

As the main personality wakes up, the killer in the aspiration becomes her lover in reality, but we start to see the symbols from the fantasy around the room and the two start to mix together.

The main persona s lover is acting the same as the cloaked number and we realize the key character is blaming all her problems on him.

As she breaks the reflection that are her fan s face, we see the sea behind it, which is greatly interpreted as a symbol of liberty.

When her enthusiast enters the house, we see the main character protected in mirror shards, inactive. The mirror presents finally breaking free.

All about my mother

by Pedro Almodovar

To Bette Davis, Gena Rowlands, Romy Schneider to all

actresses who've played actresses, to all or any women who react, to

all men who act and be women, to all folks who want

to be mothers. To my mom.

Dedication, ABOUT My Mom, 1999

Pedro Almodovar is one of the most successful and popular Spanish directors of all time. He is well-known for his videos, where he attempts to explore the type of being a woman. His films, although quite complicated, more often than not have a large international success and are being shown in cinemas all around the globe. You might say this one is a chick-flick for the more intellectual female.

All about my mother is another film about women hurting, with many character types and different reviews, intertwining and showing different edges of womanhood. Additionally it is worth talking about that virtually all the cast is female in this piece. This specific film declares that to be a woman there is no need to be born one, so we get characters like Lola and Agrado, who are transvestites.

Almodovar always liked complicated experiences and although he tries to make it as real as possible, the lives of the individuals sometimes seem to be so dark, it made me question whether there is really too much theatre involved.

The film starts with mother and a boy, Esteban and Manuela. I acquired the impression initially that the storyline will revolve around Esteban, his desire to become a article writer and the storyplot he began to write about his mom. This illusion was soon shattered, when Esteban died after being strike by a car.

The shot of him, laying on the ground for me was essentially the most impressive shot in the film C the camera needs Esteban s POV and spins around, before falling to the ground. We see his mother nearing Esteban is gradual motion, her layer red, the colour of bloodstream and taking the camera, Esteban s head, into her hands. As she screams and lets go, the camera slowly but surely moves back again to the ground. This way of demonstrating the tragedy that occurred adds to the drama so much more when compared to a normal two-shot ever would.

Manuela, who works as a transplant planner, is the main one who has to supply the consent to donor her son s heart this time around. Searching for some type of closure, she secretly comes after the recipient after the procedure. This crushes her completely and she determines to visit Barcelona, where she used to live on with the youngster s father, who is a puzzle to the viewer so far.

The focus from then on turns to the key character s interactions with other women she meets, her highway to self-discovery and opening up once again.

The different people is why is this movie interesting to view. Although for the most part, it focuses on Manuela, we get a good glimpse at the lives of other women that encompass her.

This film, although so complicated and melodramatic, resembles true to life as well C it does make us cry and have a good laugh with the women who are in it.

Manuela, who manages to lose her kid, discovers she can package with her grief assisting others C she becomes an individual assistant to actress Huma, who's going through an emotional problems, rescues Agrado from an enraged customer and helps pregnant nun Rosa through her pregnancy.

Film references are incredibly important in this part as well C it starts with the mom and son observing About Eve, which resembles the film s name and provides Esteban the theory how to call his work.

Another significant film that is continually brought up is usually a streetcar called desire. The main character, Manuela once performed Stella in a theatre group, when she was younger and this part holds a particular so this means to her, since she also met Esteban s daddy there, who played Kowalski.

After so a long time, because of the original actress not having the ability to perform, Manuela must play Stella s part once more. This, for me, is an important factor in the storyline, when the main character let us go and produces her pain. I found it interesting, because by behaving, and pretending to be somebody else, she could finally be herself and weep out loud.

The colour scheme in the movie is quite controversial and has been criticized numerous times for overshadowing the genuine story. Exactly like in Pierrot Le Fou we see red, blue and yellowish dominating, however the two videos are so different, it certainly makes you wonder if the colour scheme is suitable in every about my mother.

In my estimation, the colorings are completely ideal and well-planned, because in ways they stand for the colourful life and individuals of the women in the film and by burning off the colorings the film would lose a lttle bit of computer s spirit as well.

Overall, I relished watching About my mother C Pedro Almodovar is one of the directors who really will try to comprehend women and what it s prefer to be one. I came across the film really psychological and touching, Almodovar recognizes how to create a connection between a figure and a viewer, so you finish up really involved with the story and the destinies that these women have as well as getting to know individuals like Agrado and Lola who to some viewers might be a mystery and very difficult to understand.

The 400 Blows

by Francois Truffaut

The 400 Blows is a very important film, which began the French New Wave. It released another level of cinematic experience through cinematography, behaving plus much more naturalistic look and feel to the movie, which, for today s viewers, might be really hard to imagine.

The camera within the 400 Blows steps around a lot more freely plus more efficiently, and besides recording, starts to notify the storyplot with it s activity as well. Different sides and camera positions are released.

Antoine Doinel seems like an ordinary youngster, who seems to get in trouble wherever he should go, his professor constantly punishes him for the slightest mischief, his mom disregards him as simply being truly a waste of space and the beginning of his teenage years is proving to be always a real trouble for young Antoine. He soon finds out his mother is having an affair, but we can see the son is not bothered by any means C he's much more worried whether he ll get in trouble for skipping university. Later that day when his dad comes home home and announces that the mom acquired t be signing up for them for dinner, it appears that Antoine is hoping that she will never come back, when he asks the daddy if she's left for good. This establishes the fact that the relationship between Antoine and his mother is very poor.

For myself, it was hard to view how the people treat Antoine; it appears there is nobody at all, when it comes to parents, who understand him. He sleeps on his little bed, lonely, disposable, like the garbage he must take out every evening.

Although Antoine is disregarded as hopeless and ungifted he, as many children of his get older, is simply beginning to question the machine and the actual fact he will not perform well in school certainly will not mean he is not capable. This film will serve parents who think it is hard to understand their children, because we get a glimpse of how hard it sometimes is to be an adolescent C parents seem to forget it.

It is much like a documentary in a way that we observe Antoine, a typical young man and his transformation to a young man, as well as the work of camera being hand-held.

For a short while in the movie, appears like the family has come back collectively and Antoine does not feel isolated any further, but after faltering yet another newspaper in class, he operates away once again and stays along with his friend.

I think one of the most crucial moments in the film, since it represents French New Influx, is the scene where small children are observing Little Red Using Hood. Their expressions, reactions to the play are so genuine and shortage that over the top acting, that the audiences who sat in the cinema theatre, enjoying the movie in 1959 should have been fascinated. And they were, since the cinema was never the same again.

The main professional s Jean-Pierre Leaud s performance in the scene where Antoine is being questioned by the psychologist once again brings me back again to think of this film as a documentary C the acting is incredibly believable and it is hard to tell yourself that it is a character, not a real person in front of you.

The most famous scene of the film, of course, is the arena where Antoine runs from the Juvenile Detention Centre. You will find two extremely long traffic monitoring injections, that break the conventions of cinema and stick with the subject for much longer than normal, but this is just what fascinates the audience. His run symbolizes his long and regular search for liberty, and his anxious wish to be acknowledged.

His last look at the camera if you ask me looked like he was thinking And what do I really do now. . ? This previous shot has been generally interpreted, but to me it feels like he has reached the sea, but he cannot get away from himself.

When seeing this film, I thought about how exactly lucky I used to be to truly have a childhood, and that lots of kids expand up all too soon. My mother used to say that you can inform if the person was treasured, when these were little. This all applies to Antoine C he matures too soon, due to the time he lives in, his parents not caring enough, the educating system failing to acknowledge his initiatives to review and him attempting to be recognized, even if it s for misbehaving.

Even even today, The 400 Blows is a remarkable film, which has but still is influencing many directors.

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