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Spider-Man: No Way Home

The best of “Spider-Man: No Way Home” reminded me why I used to love comic books, especially the ones about a boy named Peter Parker. There was a playful unpredictability to them that has often been missing from modern superhero movies, which feel so precisely calculated. Yes, of course, “No Way Home” is incredibly calculated, a way to make more headlines after killing off so many of its event characters in Phase 3, but it’s also a film that’s often bursting with creative joy.

Director Jon Watts and his team have delivered a true event movie, a double-sized crossover issue of a comic book that the young me would have waited in line to read first, excitedly turning every page with breathless anticipation of the next twist and turn. And yet they generally avoid getting weighed down by the expectations fans have for this film, somehow sidestepping the cluttered traps of other crowded part threes. “No Way Home” is crowded, but it’s also surprisingly spry, inventive, and just purely entertaining, leading to a final act that not only earns its emotions but pays off some of the ones you may have about this character that you forgot.

Note: I will very carefully avoid spoilers but stay offline until you see it because there are going to be landmines on social media.

“No Way Home” picks up immediately after the end of “Spider-Man: Far From Home,” with the sound of that film’s closing scene playing over the Marvel logo. Mysterio has revealed the identity of the man in the red tights, which means nothing will ever be the same for Peter Parker ( Tom Holland ). With an almost slapstick energy, “No Way Home” opens with a series of scenes about the pitfalls of super-fame, particularly how it impacts Peter’s girlfriend M.J. (Zendaya) and best bud Ned ( Jacob Batalon ). It reaches a peak when M.I.T. denies all three of them admission, citing the controversy about Peter’s identity and the roles his buddies played in his super-adventures.

Peter has a plan. The “wizard” he met when he saved half the population with The Avengers can cast a spell and make it all go away. So he asks Dr. Strange ( Benedict Cumberbatch ) to make the world forget that Spider-Man is Peter Parker, which, of course, immediately backfires. He doesn’t want M.J. or Ned or Aunt May ( Marisa Tomei ) to forget everything they’ve been through together, and so the spell gets derailed in the middle of it. Strange barely gets it under control. And then Doc Ock ( Alfred Molina ) and the Green Goblin ( Willem Dafoe ) show up.

As the previews have revealed, “Spider-Man: No Way Home” weaves characters and mythology from the other cinematic iterations of this character into the universe of the current one, but I’m happy to report that it’s more than a casting gimmick. My concern going in was that this would merely be a case of “ Batman Forever ” or even “ Spider-Man 3 ,” where more was often the enemy of good. It’s not. The villains that return from the Sam Raimi and Marc Webb films don’t overcrowd the narrative as much as they speak to a theme that emerges in the film that ties this entire series back to the other ones. For a generation, the line about Spidey was “With great power comes great responsibility.” “Spider-Man: No Way Home” is about the modern Peter Parker learning what that means. (It also helps a great deal to have actors like Molina and Dafoe in villain roles again given how the lack of memorable villains has been a problem in the MCU.)

So many modern superhero movies have confronted what it means to be a superhero, but this is the first time it’s really been foregrounded in the current run of Peter Parker, which turns “No Way Home” into something of a graduation story. It’s the one in which Parker has to grow up and deal with not just the fame that comes with Spider-Man but how his decisions will have more impact than most kids planning to go to college. It asks some interesting questions about empathy as Peter is put in a position to basically try to save the men who tried to kill other multiverse iterations of him. And it playfully becomes a commentary on correcting mistakes of the past not just in the life of Holland’s Parker but those of characters (and even filmmakers) made long before he stepped into the role. “No way Home” is about the weight of heroic decisions. Even the right ones mean you may not be able to go home again.

Watts hasn’t gotten enough credit in his other two Spider-Man movies for his action and “No Way Home” should correct that. There are two major sequences—a stunner in a mirror dimension in which Spidey fights Strange, and the climactic one—but it’s also filled with expertly rendered minor action beats throughout. There’s a fluidity to the action here that’s underrated as Mauro Fiore ’s camera swoops and dives with Spider-Man. And the big final showdown doesn’t succumb to the common over-done hollowness of MCU climaxes because it has undeniable emotional weight. I also want to note that Michael Giacchino ’s score here is one of the best in the MCU, by far. It’s one of the few themes in the entire cinematic universe that feels heroic.

With so much to love about “No Way Home,” the only shame is that it’s not a bit more tightly presented. There’s no reason for this movie to be 148 minutes, especially given how much the first half has a habit of repeating its themes and plot points. Watts (and the MCU in general) has a habit of over-explaining things and there’s a sharper version of “No Way Home” that trusts its audience a bit more, allowing them to unpack the themes that these characters have a habit of explicitly stating. And, no offense to Batalon, turning Ned into a major character baffles me a bit. He always feels like a distraction from what really works here. On the other hand, this is the first of these three films that has allowed Zendaya and Holland’s chemistry to shine. In particular, she nails the emotional final beats of her character in a way that adds weight to a film that can feel a bit airy in terms of performance.

“Spider-Man: No Way Home” could have just been a greatest hits, a way to pull different projects into the same IP just because the producers can. Some will see it that way just on premise alone, but there’s more going on here than the previews would have you believe. It’s about what historic heroes and villains mean to us in the first place—why we care so much and what we consider a victory over evil. More than any movie in the MCU that I can remember, it made me want to dig out my old box of Spider-Man comic books. That’s a heroic accomplishment.

In theaters on December 17 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

Tom Holland as Peter Parker / Spider-Man
Zendaya as Michelle 'MJ' Jones
Benedict Cumberbatch as Stephen Strange / Doctor Strange
Jon Favreau as Harold 'Happy' Hogan
Jacob Batalon as Ned Leeds
Marisa Tomei as May Parker
Alfred Molina as Otto Octavius / Doctor Octopus
Jamie Foxx as Max Dillon / Electro
Willem Dafoe as Norman Osborn / Green Goblin
Tony Revolori as Eugene 'Flash' Thompson
Angourie Rice as Betty Brant
Martin Starr as Mr. Harrington
Hannibal Buress as Coach Wilson
J.B. Smoove as Mr. Dell
J.K. Simmons as J. Jonah Jameson
Benedict Wong as Wong
Chris McKenna
Erik Sommers

Cinematographer

Mauro Fiore
Michael Giacchino

Writer (based on the Marvel comic book by)

Steve Ditko

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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

Subscribe for more filmmaking videos like this.

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.

What is a Film Review Parasite’s Historic Oscar Wins in StudioBinder

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.

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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‘meet the barbarians’ review: julie delpy’s middling refugee comedy has its heart in the right place.

The latest feature from the director of '2 Days in Paris' reveals what happens when a tiny French town welcomes a Syrian family into its midst.

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With eight movies in just over two decades, actress turned filmmaker Julie Delpy has carved out a curious niche for herself on both sides of the Atlantic. Based in Los Angeles but working predominantly in France, collaborating with Richard Linklater ( the Before trilogy ) on one hand and Gallic stars like Dany Boon ( Lolo ) on the other, switching from drama ( The Countess ) to comedy ( Le Skylab ) and back again ( My Zoe ), Delpy, like the frazzled characters she often plays on screen, isn’t easy to pin down.

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‘All of You’ Review: Brett Goldstein and Imogen Poots Give a Winning Rom-Com More Heart Than Expected

TIFF 2024: William Bridges plays up the longing in a decades-spanning tale of friends who take way too long to admit their attraction

“All of You” is set in a slightly futuristic society whose technological and society-altering centerpiece seems to be a test that can positively identify each person’s true soulmate. A pair of longtime platonic friends played by Brett Goldstein and Imogen Poots have differing opinions about the test – she wants to take it, he thinks it’s ridiculous – but in the opening scene, he gives her the money to do it, and by doing so sets the story in motion.

And from that moment on, the soulmate test is pretty much irrelevant to “All of You,” which premiered this week at the Toronto International Film Festival. It’s a classic cinematic MacGuffin, important to get things going and insignificant to what happens from that point on, which turns out to be a decades-spanning, vaguely “When Harry Met Sally”-style story of a friendship that could be something more if the people involved would only wake up and acknowledge the attraction that we all know they feel.

It starts out as a comedy and eventually morphs into a bittersweet romance, suffused with longing and driven along by the fact that Goldstein and Poots make for an unconventional couple who are fun to watch and capable of touching our hearts, as he showed occasionally on “Ted Lasso” and she in “The Father.”

Director William Bridges, making his feature debut after co-writing the film with Goldstein and basing it on a short the two of them made 15 years ago, is pretty sure-handed with the comic elements that win us over before he fully commits to weepy moments and swelling strings. It makes the film another crowd-pleaser at a festival that has been long not on prestige awards-bait movies, but on interesting and satisfying audience films.

Poots is Laura and Goldstein is Simon, BFFs who have been close for years when we meet them on their way to the clinic where she will have the test. Even then, we know they were meant to be together — and we suspect that they know it, too, but the conversation stays light and easygoing, if full of playful arguments. He mocks her for wanting to take the test, which he says has resulted in lots of friends focusing solely on their newly-identified soul mates at the expense of all their previous mates.

“We’ve lost too many people to those bloody tests,” he says with a scowl that’ll be familiar to anyone who watched “Ted Lasso.”

“They’re not going to war , Simon,” Laura says.

“No, they’re in love,” he says.“That’s worse .”

When Laura goes in to take the test, Simon suggests that it’ll be the last time they ever see each other – but it’s not, because the first of many jump cuts finds them meeting on the street in an unspecified future time. She gushes about her soul mate Luke, he flirts with a friend of hers at a loud nightclub, and then the films skips through time to another meeting.

Their lives flit by, with Laura having a baby and Simon’s relationship breaking up. But the movie can’t just settle into the tale of two decent people who can’t acknowledge their bond, so a subsequent jump finds them at her father’s memorial service, where the conversation goes a little deeper. “The day I took the test, did you give me the money because you thought it might be you?” Laura asks.

“Naaaah,” says Simon, after pausing for entirely too long before answering.

The next thing you know, she’s knocking on his door in the middle of the night for some torrid sex, followed by her ghosting him and then accusing him of taking advantage of her in a weak moment. “It didn’t mean anything!” she insists with a fury that doesn’t fool anybody for a second.

Of course it gets complicated from there — and the more complicated and passionate it gets, the less funny it gets. Still, Goldstein and Poots are a quirky couple, not at all the standard-issue romantic leads, and they’re quite adept at being the kind of people who amuse us but also deserve to be taken seriously, taking this twisted rom-com down darker paths.

“Can we ignore our obvious attraction forever?” can be a question to explore with humor; “where do we go from here?” is less of one, particularly since Goldstein and Bridges aren’t interested in turning Laura’s husband into a bad guy or using their daughter as a pawn.

So the rom-com becomes a love story about impossible love, which means it does a certain amount of basking in misery. “All of You” is not a tearjerker because the guy who gave us Roy Kent doesn’t do tearjerkers — but it’s unexpectedly touching and even lovely, a grandly sad benediction to people who don’t need no stinkin’ test to tell them who their soulmate is.

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The incoherent drama Browse tries to look like a suspenseful horror movie, but there's nothing scary or thrilling about this rambling dud of a film.

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Arts and Entertainment
Film Studies

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 5,663,319 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

Step 1 Start with a compelling fact, quote, or opinion on the movie.

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."

Step 2 Give a clear, well-established opinion early on.

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."

Step 3 Support your opinions with evidence from specific scenes.

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

Step 1 Follow your thesis paragraph with a short plot summary.

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.

Step 2 Start to talk about the film’s technical and artistic choices.

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."

Step 4 Use plenty of examples to back up your points.

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

Step 1 Gather basic facts about the movie.

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

Step 2 Take notes on the movie as you watch it.

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.

Step 3 Analyze the mechanics of the movie.

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 1 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

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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Oct 17, 2018

Mar 31, 2021

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Sweepstakes

Brett Goldstein and Imogen Poots devastate in romantic drama All of You

Turns out that heartbreak really does feel good in a place like this.

Maureen Lee Lenker is a senior writer at Entertainment Weekly with over seven years of experience in the entertainment industry. An award-winning journalist, she's written for Turner Classic Movies, Ms. Magazine , The Hollywood Reporter , and more. She's worked at EW for six years covering film, TV, theater, music, and books. The author of EW's quarterly romance review column, "Hot Stuff," Maureen holds Master's degrees from both the University of Southern California and the University of Oxford. Her debut novel, It Happened One Fight , is now available. Follow her for all things related to classic Hollywood, musicals, the romance genre, and Bruce Springsteen.

Shakespeare understood that nothing tugs at the heartstrings like star-crossed lovers — and director/writer Will Bridges and co-writer Brett Goldstein employ that truism to shattering effect in A ll of You.

Set in a near future, the film follows Simon (Goldstein) and Laura ( Imogen Poots ), best friends who are quite obviously in love with each other but unable to find the words or the courage to tell each other the truth. In their world, scientists have devised a test to find your soulmate, which Simon reluctantly pays for Laura to do. It works and she matches with a man named Lucas (Steven Cree). She marries him, and they have a child. Simon remains in her life, popping up when she needs him most while trying to make a go of it with Laura's friend, Andrea (Zawe Ashton). Eventually, the two friends can no longer deny their feelings for each other and embark upon a torrid affair.

Apart from the sci-fi element of the soulmate test, it's familiar fodder for romantic drama, but it's of the highest caliber thanks to its sharp script and devastating central performances. The pining, particularly from Goldstein, is palpable and devestating. It's so visceral and painful at times that I felt nauseous from the ways it evokes the exquisite torture of unrealized love. Goldstein and Poots have electric chemistry, the air between them practically shimmering with want any time they share the screen. Their love scenes are genuinely sexy, their taboo nature translating to a high-stakes eroticism for the audience.

Courtesy of TIFF

Goldstein, with his foul mouth and stern exterior, is a romantic at heart, a fact any Ted Lasso fan knows well. If you need a swooningly romantic gesture or a heartrending breakup, he can write (and act) it better than most. But perhaps his greatest gift is his ability to capture the essence of heartache. Simon is addicted to Laura, so much so that he doesn't know how to love anyone else. His want and his hurt are raw and guttural as he turns himself inside out with yearning. Poots is an excellent screen partner, a beautiful crier (an underrated skill), and empathetically enigmatic in her deep and different love for two utterly decent men.

Bridges shoots with a subtle sense of mood, setting Simon and Laura's time as lovers in breezy pastoral settings in opposition to the cold grit of the city when they're apart, deftly conveying the snatches of peace and joy they find in each other's company. The film is composed of intimate moments and stolen conversations, boasting Goldstein's well-honed blend of comedy and heartbreak. It's laughter through tears, which makes the relationship feel vibrantly, vividly alive.

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I watched much of the film with my heart in my throat, enjoying the catharsis of this doomed romance and welcoming this oddly satisfying form of emotional torture. There's something to be said for a film that delivers on its simple conceit without any need for contrived plot gymnastics to keep its lovers apart. How often nowadays do we get romantic dramas that aren't high concept or otherwise buried in unnecessary bells and whistles? Movies that are, at their core, just deeply human.

All of You is a love story for grown-ups that puts the very notion of "soulmates" up for debate while also acknowledging that so much of love is built on choice, not the guiding hand of some higher power or predetermined destiny. The small decisions Simon and Laura make along the way are what make their love so impossibly difficult and fuel their deepest regrets. But it doesn't suggest that such regrets can be overcome or that there is an easy solution to the messiness of love and desire. Instead, the film simply wrecks us as much as it does its two characters, delivering a weepie of the highest order. Watching All of You is like pressing on a bruise, and ooh, baby, it hurts so good. Grade: A-

Note: This article previously misidentified the director Will Bridges as Michael Bridges.

'Measures for a Funeral' Review: Sofia Bohdanowicz Keeps Us at Arm’s Length | TIFF 2024

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Classical music is an intense environment — and one that makes for a rich cinematic setting . In the past few years alone, best picture lineups have featured movies that take place in this world, including Maestro and Tár . Measures for a Funeral explores some of these same themes — of sacrifice and devotion for the sake of art and the precision and passion required to be great in this high-pressure field — from a unique point of view, told not directly from the perspective of a conductor-composer but rather a thesis student who’s infatuated by one .

What Is 'Measures for a Funeral' About?

Deragh Campbell in Measures for a Funeral

Sofia Bohdanowicz ’s film finds its protagonist in the form of Audrey Benac ( Deragh Campbell ), an academic who comes from a family of musicians. Her absent father was a highly accomplished fiddler, while her mother was a less successful violinist, constantly telling Audrey that giving birth to her ruined her career. Their relationship is, predictably, complicated because of that, and the film sees Audrey running from her mom despite the fact she is in hospice and doesn’t have much time left .

But while Audrey is running away from her mother, she is running toward another woman: 20th-century violinist Kathleen Parlow (voiced by Mary Margaret O’Hara ), who has been all but forgotten by time. She has a personal connection to this woman, as she served as her grandfather’s violin teacher, but even so, her interest in her borders on obsession — paralleling, in a way, Parlow’s own endlessly devoted relationship to music and music alone. Audrey travels from Toronto to London to Oslo to discover everything she can about her, reading her diaries, visiting her home, and even attempting to get an orchestra to stage concerto Opus 28, which was dedicated to Kathleen but thought to be burned out of existence decades ago after a poor reception, in order to hear her and gain a twisted kind of closure.

'Measures for a Funeral' Is a Visual and Musical Treat

Measures for a Funeral is predictably strong in the music department , the score infusing the film with a moody, ominous tone from the get-go. Extensive repetitive notes heighten the sense of tension and bring out the horror vibe lurking under the surface of the drama that’s constantly threatening to break free.

Visually, the film is stunning, too. The cinematography is crisp and consistent, defined by clean lines and symmetry that feels fitting for the formal and often stuffy setting it’s capturing. The color palette — somehow simultaneously cozy and disconcerting, vivid but dreary — enhances things as well. Some of the most intriguing shots give us insight into Audrey’s unwell state of mind, like when she mistakes a coffee spill for a pool of blood. On a craft level, Measures for a Funeral is remarkable . The entire film is a concert of sorts, and each shot is like looking at a breathtaking painting.

'Measures for a Funeral's Distance Makes It Difficult to Connect To

Unfortunately, the intentionally cold presentation makes it difficult to connect to Audrey . And while that’s the point — Audrey, after all, struggles to connect with the world around her, her emotions, and even her sense of self — the film can’t seem to overcome that hurdle and make us care about her another way. She’s not particularly likable or unlikable , sympathetic or unsympathetic. She’s just not that interesting at all. Campbell doesn’t give a bad performance, but the nature of the part demands that she stay an expressionless blank slate pretty much the whole time. Don’t kill me for the comparison, but it reminds me of Kristen Stewart in Twilight — they’re embodying the role well; it’s just a shame that the role itself reads bland onscreen.

That the film sits at nearly two-and-a-half hours doesn’t help matters. There’s nothing wrong with a long movie if it earns it , but Measures for a Funeral doesn’t really get started until about 70 minutes in , once Audrey becomes determined to stage the opus. The first hour plays out like a dry documentary with drawn-out, redundant monologues from Parlow’s letters and characters infodumping what they know about the woman to each other. At one point, we see an archivist teach Audrey about the history of sounds — something that’s fascinating in theory but plays out like a dull humanities lecture. At times, the film plays less like a feature and more like an audiobook of a biography about Parlow’s life, with a few visuals thrown in for good measure.

The characters never feel like real people, and that’s especially true with the dialogue, which is somehow overly pretentious and sophomorically direct. The characters often speak as they would in a Yorgos Lanthimos film but without the absurd creativity or wicked humor to make it effective. Themes of what it takes to be a genius — and society’s tendency to revere men who dominate their craft while disposing of women who excel — are timeless, but Measures for a Funeral ’s discussions of this are frequently grating and eye-roll-inducing. The film takes itself too seriously and has an inflated sense of self-importance that’s off-putting and rings false.

It’s especially frustrating considering there is a compelling movie hiding in here if it would just allow itself to let loose by leaning into the psychological thriller elements it teases throughout but never fully commits to or cuts back on the overindulgent details that keep the pace at an agonizing crawl. Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

Measures for a Funeral (2024)

While 'Measures for a Funeral' is a technical feat, its plot and characters leave much to be desired.

The score is gorgeous, immersing us in the world of classical music in which the film takes place.
The cinematography is stunning, enhancing the film's stiff and uneasy tone.
The distance put between us and the protagonist makes it difficult to connect with and invest in her story.
The film doesn't earn its runtime, indulging in too many unnecessary details and moving at a sluggish pace.
The dialogue is overly dry and pretentious, with the characters never feeling like real people.

Measures of a Funeral had its World Premiere at the Toronto International Film Festival.

Movie Reviews

Saturday Night Review: Jason Reitman Creates A Crackling Chronicle Of A Comedy Cornerstone

The cast and crew of Saturday Night laughs during dress rehearsal

In 2021, "Up in the Air" and "Juno" director Jason Reitman dug into the legacy of his filmmaking father Ivan Reitman with "Ghostbusters: Afterlife," a revival of the sci-fi comedy franchise with a refreshing yet overly nostalgic lens . Now, he's reaching back to the rise of a pillar of American comedy by way of one of the "Ghostbusters" creators and the troupe of comedians and innovators who made showbiz history back in 1975.

"Saturday Night" moves like a bullet train as it chronicles the incredibly intense, mystifyingly disorganized, and utterly chaotic 90 minutes that led up to the premiere of the first episode of the NBC sketch comedy series that was eventually given the moniker of "Saturday Night Live" ( you can find out why it didn't have that title from the get-go over here ). Spearheaded by showrunner Lorne Michaels (played by "The Fabelmans" star Gabriel LaBelle), the project was a counterculture sketch comedy series starring an ensemble of unknown twenty-something comedians, all of whom would go on to become some of the biggest names in comedy. But at 10pm on the night of October 11, 1975, they were all practically nobodies, marching toward showtime without finalized scripts, and one of them hadn't even signed the network contract to star in the show.

Not unlike "Ghostbusters: Afterlife," there's plenty of nostalgia at play in "Saturday Night," so much that general audiences without a passing knowledge of the history of "SNL" might find themselves a bit lost in the erratic shuffle or missing amusing bits. But the difference is that "Saturday Night" comes armed with a witty, fast-talking script, meticulously precise camera work, a funky, ticking score by Jon Batiste (who also plays musical guest Billy Preston), and a massive, pitch-perfect ensemble that makes the nostalgia a bonus feature rather than the driving force. Sure, "Saturday Night" still very much operates as a full-on love letter to "SNL," with a masterful recreation of the stages of Studio 8H and many of the signature sketches that made the premiere so memorable. But it's the behind-the-scenes drama and interplay between all the moving pieces that make this a compelling, richly drawn portrait of a milestone moment in showbiz history.

Gabriel LaBelle is fantastic as Lorne Michaels

John Belushi gets angry on the set of Saturday Night

The lenses of "Saturday Night" — often wandering throughout an incredible copy of the Studio 8H maze, captured on 16mm film — highlights all the confusion and hot-headed exchanges in front of and behind the camera. That means that the focus is always shifting around the madness, whipping left and right and pausing only for a handful of quieter, significant conversations between key players when cinematographer Eric Steelberg isn't pulling off masterful long-takes worthy of Paul Thomas Anderson. But there's a charming center to "Saturday Night."

Gabriel LaBelle proves that "The Fabelmans" wasn't a fluke, and he's got the charisma to make Lorne Michaels confident without being overly cocky as he takes the spotlight throughout most of "Saturday Night." Most importantly, LaBelle also has no problem exhaling an air of insecurity and uncertainty when he's not forced to put on the fake-it-til-you-make-it-face and giving the illusion of knowing exactly how he's going to make this hot mess of a show come together in time to air. LaBelle makes you believe that Michaels is going to pull this off, and while he benefits from real history letting us know that he will, "Saturday Night" makes the show's production look so hectic and unorganized that you almost believe there's a chance it's not going to work.

In one of the more key supporting roles, Cooper Hoffman ("Licorice Pizza") plays NBC executive Dick Ebersol, who acts as the rational center of the show, trying to wrangle Michaels into realizing that he needs to define exactly what the show is sometime before they go live in 90 minutes, even going so far as to try to get them more advertising money by bringing the then-new Polaroid camera into a sketch. Michaels himself doesn't seem to be easily able to explain the show to anyone, but again LaBelle makes it seem like he knows somewhere deep in his bones, even if he doesn't have the words. Did Michaels himself even really know at the time? Only he could say for sure.

Then there's Rachel Sennott ("Bottoms") as writer Rosie Shuster, who was married to Lorne Michaels at the time, but the movie only briefly touches upon the peculiar marriage that seemed to be more open-ended than happily ever after, as Shuster once says, "We may be married, but I'm not your wife." It adds a tinge of romantic complication to the equation, but not enough to ever take center stage or offer anything significant thematically. It's just another shaky cog in the unstable machine that is this haywire production. Sennott's role is the most fully drawn female character — which is unfortunate when you have such a talented ensemble playing some of the most gifted comedians of the era lingering elsewhere in the movie — but she still charms with a smaller part, acting as one of the few who succeeds as a talent whisperer, especially when it comes to saddling the unpredictable and increasingly frustrated John Belushi (a superb Matt Wood), who still hasn't signed his NBC contract. However, he's hardly the most prominently featured cast member from the show.

The Not Ready for Primetime Players are perfectly portrayed

The Saturday Night cast excited in togas

When it comes to the rest of the Not Ready for Primetime Players, almost all of them get a chance to shine. Cory Michael Smith captures the arrogance and dry wit of the infamously rude Chevy Chase , and Dylan O'Brien manages to exude both the sex appeal and quirkiness of young Dan Aykroyd, not to mention showing a surprisingly insecure side of the comedian. Lamorne Morris stands out as Garrett Morris, the only Black cast member of the show, as he starts to wonder exactly why he's there, when he's not exactly given a lot to do.

Matt Wood always seems to be teetering on the edge of a rage-filled breakdown as he unleashes the tortured artist side of the legendary John Belushi. They all have both introspective and hilarious moments tied to their history and legacy on the show. That's especially true for Chevy Chase, who gets into a shocking scuffle with Milton Berle (a scene-stealing J.K. Simmons), a moment conflated into the story despite not actually happening on premiere night (there are a few other inconsistencies heightened for entertainment, but they all serve the spirit of "SNL" and the lunacy that would continue long after the first show).

Unfortunately, Ella Hunt, Emily Fairn, and Kim Matula get the somewhat short end of the stick as Gilda Radner, Laraine Newman, and Jane Curtin. It's not because of their performances, as each of them manages to inhabit the spirit of these women with flying colors. While they each have a small moment to stand out, the rest of the movie is so overrun with the showbiz insanity that the movie simply doesn't have the runtime to allow everyone significant screentime or development. Though there's time for Billy Crystal (a notable performance by Nicholas Podany) to have a runner throughout the movie, as he was famously cut out of the first episode of "SNL."

The ladies get short-changed a bit, but...

Gilda Radner crosses her eyes in Saturday Night

But Reitman, with the help of editors Nathan Orloff and Shane Reid, do find little moments to provide a more meat for their appearances. For example, Newman always seems to be looking longingly with concern when Aykroyd is playfully flirting with the other female cast members, and she's also dedicated to getting a certain seemingly impossible costume change just right. Radner is a bright light of energy in every scene, and one particular reflective moment gives her a solid emotional center that adds a bittersweet perspective to the overall experience of making what would become a beloved show, especially for those who know the fate that awaits the star who left us far too soon. Finally, Curtin has a key conversation with Morris reflecting on the trajectory of her career, from a commercial actor to this hopeful breakout role. It's a shame that the women end up not being given more to play with, but the trio is certainly having fun, especially when the time comes for their female construction worker set where they ogle Dan Aykroyd in cutoff jean shorts and a tank top.

However, across the board, it should be noted that each and every cast member is absolutely fantastic in their role. They all manage to inhabit each comedian by replicating their voice and persona without laying it on thick. Their performances are authentic and genuine, each managing to capture the likeness of their real life counterparts by doing understated impersonations that don't feel like cardboard cutouts. Even Nicholas Braun's dual roles as Muppets creator Jim Henson and oddball comedian Andy Kaufman (both serving as hilarious runners throughout the film) manage to capture the idiosyncrasies of these real-life legends. The only one who doesn't seem like he has much bubbling deeper than the surface is Chevy Chase, but that feels like a testament to how good Cory Michael Smith is at portraying the famously arrogant comic who was out to serve only himself.

First and foremost, this is about SNL

Gabriel LaBelle looks at the notecard board in Saturday Night

But as much as "Saturday Night" is about the sketch series that will become "SNL," it's not about the stars who bring it to life in front of the camera. It's about what happens behind the scenes, including all the tense conversations that Michaels has to have about getting the show on the air. Willem Dafoe observes every single misstep as an intimidating foe in the form of NBC's head of talent David Tebet, though it should be noted this adversarial relationship has been mostly manufactured for the movie, as Tebet was actually a supporter of the series. But you can't deny that it's mesmerizing to have Dafoe leering and sneering at Michaels from behind sunglasses as the showrunner purports to be in control of this frenzied production, even as he's literally locked out the actual control room.

While some might see the show's rebellious attitude and impending success as being celebrated too fiercely by putting Michaels on a bigger pedestal that has already been built sky high over 50 years of television that reaches well-beyond "SNL," Michaels' eventual triumph is the point. The movie isn't digging too deep into Michaels as a character beyond his efforts to turn this show into something groundbreaking. That can be a little frustrating, but when the movie unfolds across just 90 minutes on a single night, we're not going to get any life-defining revelations. After all, the movie is called "Saturday Night," not "The Life and Times of Lorne Michaels."

One of the best movies of the year

Michael O'Donoghue burns a script in Saturday Night

"Saturday Night" sizzles with witty barbs and insults, calling back to a completely different time in television. While it could be argued that "Saturday Night" feels more like a hagiography that merely prints the legend, the embellishment and conflation of certain events and details should be expected in movies like this, and there's plenty of credit to be given where it is due. What matters is that the movie captures the spirit of the groundbreaking TV show, even if it's not necessarily doing anything revolutionary in the process.

Though today's "SNL" isn't quite so innovative or bold in its satire, which has likely made the defiant and turbulent writer Michael O'Donoghue (a hilariously wry and stern performance by Tommy Dewey) turn in his grave several times over, the show as portrayed on "Saturday Night" still has sharp, unwieldy teeth, so much that no one hesitates to pull one over on the intrusive woman from NBC's standards and practices department who keeps editing the unfinished sketch scripts. This is the kind of show where O'Donoghue doesn't hesitate to tell host George Carlin (an exceptional but underutilized Matthew Rhys) that he's basically a poor man's Lenny Bruce (in so many words). It's rowdy, it's messy, it's Saturday night.

Like any given episode of "SNL," Jason Reitman's "Saturday Night" is not perfect; there are highs and lows, and the cast just might be too big to adequately hit all the finer points in a satisfying way. But the outcome is an ultimately satisfying showbiz romp with equal parts comedy and drama that is full of effervescent life, outstanding performances, and a wealth of laugh-out-loud moments. Even acknowledging its shortcomings, "Saturday Night" is hands down spectacular, and it's easily one of the best movies of the year.

/Film Rating: 9 out of 10

"Saturday Night" opens September 27, 2024 in LA, NY, and Toronto before a limited release on October 4, 2024 followed by an October 11, 2024 wide release.

Screen Rant

Without blood review: salma hayek anchors devastating revenge story that lacks bite [tiff].

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Maria Review: Angelina Jolie Anchors A Thoughtful Biopic, But I Just Couldn’t Love It [Venice]

Denis villeneuve confirms dune 3 will be his last in the franchise, but teases "seeds" for more, "they think they hate it": josh brolin addresses divided audience response to no country for old men ending 17 years later.

Angelina Jolie has long been fascinated by the ways in which war impacts people’s lives and the generations beyond that. In her latest directorial feature, Without Blood , we follow a little girl named Nina whose family is ravaged by an act of violence in the aftermath of an unnamed conflict. Nina lives on, revenge becoming the driving force of her life.

Without Blood

The decades-spanning tale is mostly a two-hander between Salma Hayek Pinault and Demián Bichir, two actors at the top of their game. First, though, Jolie reveals what exactly happened to Pinault’s Nina. In a scene evocative of westerns, we see men somewhere in Mexico killing their enemies on horseback before arriving at a house to get revenge on a doctor, Nina's father, who wronged them. The war is over, he pleads, there's no need to do this. But just becasue one side has one does not mean the violence is over.

Revenge Drives Much Of Without Blood

The film asks what revenge really does for those who seek it out.

Like family curses and genetic conditions, revenge can be passed down from generation to generation, too. It becomes an ugly cycle of emotional and physical violence. Nina is continuing this cycle when we first meet her as an adult. She approaches Bichir’s Tito at his newsstand and invites him for a drink. He’s thrown off that this well-dressed woman would ask him such a thing, but he puts two-and-two together quickly enough.

Much of Without Blood is spent following one long conversation between the pair, fleshing out the intervening years between the opening scene and the dinner they are having in flashback. Jolie frames much of this conversation in tight close-ups of Pinault and Bichir’s faces, cigarettes hanging delicately between lips or perched resolutely between fingers. We spend more time with them than we do in the past.

The world is small and those connected by conflict and violence are often pulled back to one another by unseen forces.

It’s a seduction of sorts. Nina wants to reel Tito into her tragic story, eliciting some emotion from the man who ruined her family. He isn’t on the defense, though. Instead, he explains all the little ways in which he still touched her life after they parted ways all those years ago. The world is small and those connected by conflict and violence are often pulled back to one another by unseen forces.

Despite sturdy performances, Without Blood doesn’t fully come together. Its use of flashbacks is an interesting choice, but I found myself wondering why the story was told this way instead of in chronological order. Both would weave grand stories reaching through time to culminate in this climactic conversation. But the flashbacks make the characters feel thin, their inner lives hidden in all the things from the past we do not see.

You could make an argument that this is the point. War and trauma often cause people to lose memory or obfuscate the truth to protect themselves and those they love. That doesn’t seem to be the case here, though. Nina remembers everything, so much so that she’s already carried out two brutal acts of revenge against the men who visited her on that fateful day when she was a little girl.

Angelina Jolie as Maria Callas in Pablo Larraín’s Maria

Despite many interesting choices, the experience of watching Maria was, for me, mixed, and in a way that poses a conundrum for me as a critic.

Tito is unsure of what she wants ultimately. To kill him, even though he saved her that day? To look in his eyes and see if any regret is engraved in the wrinkles and lines and scars that mark his face? To just be able to say her piece and leave it at that? I'm not sure Nina knows what she wants either, save for making sure that Tito knows she still carries what happened to her all these years later.

The war had ended for the country, but Nina has had to fight a war all her life, from when was an orphan to years later as a child-bride and eventual institutionalization. This all happened because of what Tito and his accomplices did, directly and indirectly. Tito's complicity in later moments of her life only further proves this. It's as if Without Blood is saying that physical manifestations of war and trauma are like ghosts - they haunt Nina and Tito, allowing them live their normal lives while spectres of regret and violence linger close by.

Without Blood had its premiere at the 2024 Toronto International Film Festival. The film is 91 minutes long and is not yet rated.

Without Blood is a 2024 war drama film based on the novel by Alessandro Baricco. Starring Salma Hayek and Demián Bichir, the film tells a parable-like story set in the aftermath of a conflict, exploring themes of family, war, and revenge.

Salma Hayek Pinault & Démian Bichir are great as always.
The unconvential narrative structure is a unique way to tell this story.
Angelina Jolie's direction is more confident than ever.
The ending is underwhelming and the story has room for expansion.
3 star movies

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‘Speak No Evil’ Review: This Blumhouse Remake of a Great Horror Shocker Is Unnecessary — and Worse, Unscary

Ryan lattanzio, deputy editor, film.

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But this version of “Speak No Evil,” despite an effectively creepy performance from James McAvoy , grinds the unsettling contours of the original into gory, “Straw Dogs”-lite, home-invasion comeuppance pulp in a last act that’s exactly the sort of dragged-out predictable material Tafdrup sought to avoid. Even a captivatingly unnerved Mackenzie Davis, here married to a feckless shell of a man played by Scoot McNairy, and the commanding “The Nightingale” actress Aisling Franciosi in her first major studio turn, can’t rescue this “Speak No Evil” from its own impulse toward placating the audience with a happy-ish ending that’s a far cry from the stones thrown in the final, harrowingly deflating scene of the original.

L to R: Agnes Dalton (Alix West Lefler), Louise Dalton (Mackenzie Davis) and Ben Dalton (Scoot McNairy) in Speak No Evil, directed by James Watkins.

Everything and then some, as after a pitch-black snaking drive to Paddy and Ciara’s off-the-grid, working-class cottage home, Paddy is soon forcing game into the mouth of a devoutly (but perhaps hypocritically) vegetarian Louise. Watkins, who also wrote the script, lifts such faux-pas interactions directly from Tafdrup’s film — while leaving out the really creepy stuff like the Paddy of the original, there called Patrick, helping himself to a piss in the guest bathroom while Louise is taking a shower. Or the Danish couple in the 2022 film getting so turned on, whether they know it or not, by their hosts’ lack of shame that they end up having sex in the guest room with Patrick watching from a cutout window in the door. All Tafdrup’s kinks are ironed down to make this “Speak No Evil” presumably more palatable for popcorn-chomping moviegoers in the United States.

If you’ve seen the first “Speak No Evil,” there’s really no need to seek out this one. The best horror remakes enhance or augment their source material ( see Luca Guadagnino’s “Suspiria,” for one), finding new crumbs under the carpet previously unexplored or only dusted up in passing by the original. Watkins’ remake unforgivably lifts directly from the original while leaving out a lot of the strong stuff, including the awful inevitability Tafdrup set up as the hosts turn out to be marauders with a murderous secret.

L to R: (from left) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in Speak No Evil, directed by James Watkins.

In the American remake tradition, Watkins goes for a quote-unquote happier ending than Tafdrup did, one that finds Louise and Ben facing off in an overlong set piece against their hosts, while trying to prevent the premeditated family annihilation they walked right into. Davis, the Canadian indie film and TV actress beloved for her role in AMC’s “Halt and Catch Fire” and superbly menacing in Sophia Takal’s industry psycho-thriller “Always Shine,” does her best in a role that’s mostly a chess piece to move the plot machinations forward.

Same goes for McNairy, a helpless, spineless sad sack of a father who leaves his wife to take charge of the situation (and Davis is plenty game) as Paddy and Ciara turn full-blown evil. McAvoy’s gift for a rictus grin and a swaggering machismo that eases you into feeling comfortable, only to twist on a 180 into pure psychopathy, is well-played here. But he’s more cartoonishly evil toxic male than the often-unreadable enigma actor Fedja van Huêt conjured in the 2022 film — especially when he’s screaming in Ant’s face about his poor dancing skills.

“Speak No Evil” premieres in U.S. theaters on Friday, September 13.

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