1. Analysis

3. The title is key to the review, it is The main photo, this is key to selling the
obvious for every review for the film review to the reader.
itself.
This is
the small
tagline The closer
which look gives
gives the
some audience
inference a few
to the small
film pointers to
what may
Key happen in
information the film.
is key for the
understandin The verdict is
g of the film key for the
review as this
These are the snippets
The article is obviously is what
from the review which
key for the review determines
the magazine would like
why people
I have a transcribed version of the to highlight for the
want to see
review on the next two slides. reader.
the film

4. Fuck You You Fucking Fucker." The T-shirt (briefly) worn by Rooney Mara’s Lisbeth Salander in David Fincher’s
adaptation of Stieg Larsson’s bestselling novel speaks volumes. First of all, it addresses the nay-sayers who thought
Niels Arden Oplev’s 2009 original should be left alone — not because it was any kind of cinematic masterpiece, but
because the previously unknown Noomi Rapace’s centrepiece performance was deemed definitive. But it also deftly
represents The Social Network director’s personality. While aspects of the media disparaged his awards-season
chances against The King’s Speech last year, Fincher was already disengaged from the beauty contest and hard at
work on this excellent, often pitch-dark but otherwise almost note-perfect thriller.
It was, it must be said, a weird thing to want to do: remake a European hit so soon after its original release. But
Fincher’s effort is perhaps the film Larsson’s book deserved all along; it may largely be faithful to the main story, but
Steven Zaillian’s economic, witty script compacts and tidies up the minor details that make the difference between a
very good literary adaptation and a gripping cinematic thriller. And while Blomkvist’s labyrinthine travails reappear in
the last half hour, Fincher’s film sensibly concentrates on the whodunnit element — most smartly of all, dispensing
with the strange quirk of Swedish justice that allowed Blomkvist to go to jail at the very end of the original.
Instead, Blomkvist is a ruined man, and Craig is the perfect foil to the eventual, explosive arrival of The Girl. Even
though everyone else seems to have a Swedish accent, however slight, Craig plays it with his own, but surprisingly the
effect doesn’t jar. Bleary-eyed, stubbled and often seen in disturbingly unfashionable winceyette pyjama bottoms,
Blomkvist is a low-key, effective everyman in what could easily be an overplayed, hokey story. The wonderful
Christopher Plummer — excellent in Mike Mills’ Beginners too, and looking at an Oscar nomination either way — is
especially delicious in this regard, inviting the writer into a story that involves “thieves, misers, bullies — the most
detestable collection of people you will ever meet”. Then he adds the clincher: “My family.”
The Girl herself takes her time, and Lisbeth’s story takes a good while to bed down as Blomkvist gets to grips with the
dysfunctional Vangers. And without wishing to get too caught up in comparisons with the other movie, Mara’s
performance completely holds its own here. Where Rapace was aloof and flinty, Mara is more childlike and mercurial.
Her actual age (withheld, for good reason, for most of the film’s running

5. time) is hard to fathom. When she flips her hoodie she could be a 14 year-old boy; when being raped
(rather graphically) by her legal guardian
she could be any underage girl. But when she’s in control — which is much more satisfyingly shown
here, given the age gap between herself and Blomkvist — she is most definitely a woman.
The main thing, however, is perhaps how much Fincher has grown into the role of auteur, without
apparently trying or even wanting to. While it appears to be another one of Fincher’s five-finger
exercises — like Panic Room or The Game — this is a film that could prove to be a key work when the
big study book is written. The oily, exhilarating credit sequence suggests a knowing, Fight Club-style
subversion of Craig’s 007 persona; the awkward parental bond between Blomkvist and his daughter
recalls the wistful poetry of Benjamin Button; Vanger’s need for closure echoes that of Robert
Graysmith in Zodiac; the film’s casual, slyly funny cyberpunk heroism makes a great counterpoint to the
dry, sceptical satire of The Social Network, and the whole film is suffused with the harsh brutality of
Seven.
Are there flaws? Well, arguably, in the decompressing final stretch, which relates back to the book and
opens the door to the possibility/inevitability of a trilogy. But that also enables an ostensibly hard film
to wind down to a surprisingly tender climax. Though Fincher professes to be a hard-ass both
professionally and aesthetically — and with its not-to-be-underestimated moments of anal rape and
torture, his film is not for the faint-hearted — The Girl With The Dragon Tattoo says more about broken
hearts than broken people. Which, to address the nay-sayers, is where Fincher went right.
Verdict
A tough, post-punk Tintin-meets-Klute for the Occupy Wall Street set, this kinetic, hard-edged thriller is
the perfect festive comedown for Fincher fans and dysfunctional families everywhere.
Reviewed by Damon Wise

6. Analysis of the review : The girl with the
dragon tattoo in Empire
•The tagline for the film could be counted as controversial “Rape, chrome
dildos, emotional scars – Merry Christmas! “, the use of these hits the reader
straight away from the point, also it could be considered as an understanding
what the film is actually like.
• Throughout the review there are a number of references to other films and
how the director has used them elements, films which are named are The
social network, The kings speech, James bond and Fight club, this is another
way for the film to sell with a number of different films which are very high
grossing films.
•The use of a highlighted quote allows parts of the review to stand out for the
reader and they are points which are selling points of the film like “An
excellent, pitch-dark, almost note perfect thriller” this is an incite into the way
the film is set up for the viewer to really like the film .

8. These are films
The photo which are very
again is key to similar ones which
the review the reader may have
giving the seen them and
reader an wanted to see the
incite into the muppets aswell
film. This is a talking
point which is
The title is also
helpful for giving
key to the
points for the
review to tell
reader to go and
the reader
see the film.
what the film
This is a
is.
highlighted part
The article is of the article
also key for which the
the reviewing magazine want
of the film. to be seen.
This is a graph The verdict is a
of how the clear view of
films has high how the
points and low I have a transcribed version of the review on experts see
points the next two slides. the film.

9. Sensational, inspirational, celebrational… pretty good.
It's been over a decade since the Muppets last graced the big screen, yet Kermit, Fozzie and
the gang are still remembered with fond reverence by grown-up fans of The Muppet
Show, The Muppet Movie or any of their other filmic outings.
It’s not the grown-ups, however, that this film needs to impress if it’s to be considered a
success. Will under-10s look at the Muppets and see just a bunch of lame, low-tech puppets?
Rising to the challenge is Jason Segel. The man who shoehorned a puppet musical into the
climactic scene of Forgetting Sarah Marshall.
Segel’s well-documented Muppet mania was the catalyst that got this movie into production,
seven years after Disney acquired the rights from The Jim Henson Company.
He co-wrote the script with Nicholas Stoller and co-stars as Gary, an ordinary guy from
Smalltown who takes his fiancée Mary (Amy Adams, adorable) and younger brother Walter (a
3ft chap who happens to be made out of orange felt) on an exciting trip to The Muppet
Studios in Hollywood.
When Walter discovers his heroes have disbanded and an evil billionaire named Tex Richman
(Chris Cooper) is planning to take over the Muppets Theatre, he realises the only way to save
them is to get the old gang back together and put on a fundraiser.
Thus swings into motion a textbook on-with-the-show musical comedy, celebrating the
virtues of teamwork, being kind to each other and impromptu song-and-dance numbers – the
kind of thing the Muppets do best.

10. This update’s great strength is that it marries classic Muppet antics with the most
Muppety aspects of modern culture. You couldn’t find two more apt human sidekicks
than duo Segel and Adams, while bringing Flight Of The Conchords’ Bret McKenzie in
to write the songs is inspired.
Perhaps there are one too many hip celebrity cameos (Dave Grohl, Zak Galifianakis,
Kirsten Schaal, Leslie Feist…). But those who accuse the movie of pandering too much
to thirtysomething nostalgia-hounds forget that the Muppets always were about bad
puns, fourth-wall-breaking gags and broaching the silly-sophisticated divide between
adult and kid humour.
In an age when the R-rated comedy has become mainstream, that’s rare enough to
be refreshing. Fox News may call them commies; to the rest of us, the Muppets are
just plain, loveable and nice.
Verdict:The sunniest, happiest film in the world – and if the under-10 in your life can’t
appreciate that, it might be time to put them up for adoption.

11. Analysis of the review : The Muppets in
Total Film
• The tagline which is used in this case is very bold for explaining
the type of film it is “sensational, inspirational, celebrational
…pretty good! “ these explanation of the film are all selling the
film to the reader of the review.
• The review again likened to a number of films because the
writers of the songs which have been featured in the film and the
directors other films. Films such as “Forgetting Sarah Marshall”
and “Flight of the Conchords”
•The use of the highlighted text is good for selling the film “In an
age where R-rated comedy is mainstream this is a refreshing” this
is good for the reader as many parents may see the review and
then want to see the film

12. Short films are less likely to be
reviewed in magazines because
of the niche target audiences
they are aimed at. So I have
found a short film review on
the internet.

14. The video/ picture
give an idea of what
The title again a the film is about.
point to giving a
verdict on why the
audience should
watch the film.
The review has
The review again is posed a question
key for the reader on the audience
to see what people asking them
feel about the film. question allows
them to be drawn
into the review.
http://www.shortoftheweek. I have a transcribed
com/2007/08/05/black- version of the review on
button/ the next slide.

15. Black Button (Review From http://www.shortoftheweek.com)
Would you press this button for a million dollars? What happens when you press it? A classic moral
dilemma unfolds.
I found this week’s film, Black Button, on YouTube where it has become rather popular. That makes sense since it
is a good film, but more so than that it is also emblematic of the uniqueness of YouTube and the possibilities for
filmmakers there.
Black Button is minimalistic in design and execution, but is the kind of tautly paced, well-written film that really
shines in the short format. The film centers around a classic hypothetical and moral quandary; lost and confused
in a stark white room the main character, Mr. Roberts, is offered ten million dollars by a mysterious older
gentleman to push a black button. The catch? If he does, someone, somewhere will die. This premise sets the
stage for a provocative conversation between the two as they discuss the implications of such a choice.
There is a lot to like about the film, the visual aesthetic is stylish; stark and ultra-exposed in order to create the
depth-less white set. As mentioned, the pacing is excellent, sucking in your attention and never letting it flag and
the shot selection wrings the most dynamism possible out of the limited set. The two strongest aspects though
are the excellent sound work and superb acting. Fantastically creepy, disorienting sounds emanate during the
payoff that heighten the affect nicely, and quite simply Robert Grubb steals the show with his turn as the elderly
gentlemen.
As accomplished a film as it is, especially for a $200 first time effort, Black Button likely would have found success
on the festival circuit, but instead on YouTube it has become a phenomena, garnering a half a million views and
over 6000 comments. It’s hard to imagine garnering as much exposure or feedback from any other means than
the online video giant. But also because of the community-nature of the site, the feedback is often a lot more
substantial than other sites. Thirteen video responses have been posted already by fans of the film, and
questions generated by the short prompted the filmmakers to post two new “making of” segments to YouTube as
well, extending the level of interactions possible between independent filmmakers and their audiences. Now if
only YouTube can perfect some revenue sharing…

16. Analysis of the Review : Black Button
• The use of a question at the start is a good thing for a review
because the reader will want to read on with the review. “Would
you press this button for a million dollars? What happens when
you press it? A classic moral dilemma unfolds.” this question is
linked to the film itself and is a reasonable and good question
which could be considered as rhetorical.
•The review looks at the visual style and the way the film has been
made and this is a big thing in the film industry.
•The use of an explanation about the way the film has done on
views and the number of people actually watching the film.

17. • The feature films all have the highlighted part of the review.
•The reviews also involve some sort of tagline which sell the film.
• They all have some sort of screenshot for the film giving an incite to the film.
•They all have verdict with either a star rating or 10/10 and an explanation of
the review and a summary of the film and there opinion.
• They also have used a number of references to other films and there visual
style which have been placed in the film.
•The use of a question can be good to engage the reader to the review itself.
•The short film review could also involve the number of views on the website
it was originally uploaded to.
•The use of information about the film and the style which has been used in
the film.