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Common Sense Media Review

By Elliot Panek , based on child development research. How do we rate?

Grim, slick, shocking thriller. Older teens only.

Parents Need to Know

Parents need to know that this film contains graphic depictions of the aftermath of grisly murders involving the seven deadly sins. While none of this takes place on-screen, the vivid descriptions prove to be nearly as chilling. For example, an obese man is forced to eat until his stomach bursts. A man is forced to…

Why Age 17+?

The gory aftermath (and allusions to) horrific torture and murder. Gunshots. Off

Lots of swearing.

References to prostitution, sex.

Any Positive Content?

Though justice is said to be "worth fighting for," the world is so bleak and ful

Though Seven aims to show that all people are capable of great sin, Detective So

Violence & Scariness

The gory aftermath (and allusions to) horrific torture and murder. Gunshots. Off-screen murder. Rape.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Positive Messages

Though justice is said to be "worth fighting for," the world is so bleak and full of horror that this doesn't seem believable.

Positive Role Models

Though Seven aims to show that all people are capable of great sin, Detective Somerset is level-headed, wise, and kind.

Parents need to know that this film contains graphic depictions of the aftermath of grisly murders involving the seven deadly sins. While none of this takes place on-screen, the vivid descriptions prove to be nearly as chilling. For example, an obese man is forced to eat until his stomach bursts. A man is forced to kill a prostitute by stabbing her reproductive organs with an 8-inch knife. A beauty queen's face is cut off. A lawyer must cut out his own stomach. A police officer's pregnant wife is beheaded. In the end, the line between good and evil is blurred, with evil more or less coming out on top. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Videos and photos.

Parent and Kid Reviews

• Parents say (22)
• Kids say (67)

Based on 22 parent reviews

"What's in the box?!"

Become vengeance, david, become wrath., what's the story.

SEVEN combines horror and film noir genres, with overconfident rookie David Mills ( Brad Pitt ) as the doomed detective of the noir tradition, and book veteran William Somerset ( Morgan Freeman ) as the desexualized, pedantic survivor familiar to slasher movie fans. The story follows the archetypal pair as they wind their way through a dark world of urban violence in search of a serial killer ( Kevin Spacey ). Mills and Somerset conclude that each murder corresponds to one of the seven deadly sins from the Bible, and that the killer is trying to preach his message of religious morality through his murders and the press they receive. Even after being willfully apprehended, the killer has one final trick up his sleeve -- a horrific gesture designed to goad Mills into crossing the line between lawful justice and sinful vengeance.

Is It Any Good?

Dark, disturbing and occasionally gory, Seven is a psychological thriller that, along with Chinatown , is among the bleakest films in mainstream cinema history.

The murders are not shown on screen, but the film has a morbid fascination with the pain inflicted on the victims. And it depicts a dark universe, where the lines between good and evil are blurred. There's no question that it aims to be more philosophical than other detective/horror films (namely The Silence of the Lambs ). Attempts at deeper meaning might be pretentious or profound, depending on how serious you can take Brad Pitt as an actor.

Talk to Your Kids About ...

Families can talk about horror movies. How is this movie different than a slasher film? What makes it disturbing? Is it any less chilling because the violence is not shown on screen?

Movie Details

• In theaters : January 1, 1995
• On DVD or streaming : June 7, 2001
• Cast : Brad Pitt , Gwyneth Paltrow , Morgan Freeman
• Director : David Fincher
• Inclusion Information : Female actors, Black actors
• Studio : Warner Bros.
• Genre : Drama
• Run time : 127 minutes
• MPAA rating : R
• MPAA explanation : grisly afterviews of horrific and bizarre killings, and for strong language.
• Last updated : February 28, 2022

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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What to watch next.

The Silence of the Lambs

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

WhichFilm | Film Reviews | Audience Film Reviews

Seven (1995)

“Seven,” directed by David Fincher and released in 1995, is a dark and atmospheric psychological thriller that immerses viewers in a world of moral decay and psychological torment. With its chilling portrayal of a serial killer’s twisted game and the two detectives determined to bring him to justice, “Seven” stands as a landmark film in the genre, known for its gritty visuals, haunting atmosphere, and thought-provoking exploration of human nature.

Plot: The film follows seasoned detective William Somerset (played by Morgan Freeman), who is on the brink of retirement, and his young and impulsive partner, David Mills (Brad Pitt), as they investigate a series of brutal murders that seem to follow the pattern of the seven deadly sins. As the detectives delve deeper into the mind of the sadistic killer (played by Kevin Spacey), they become entangled in a cat-and-mouse game that pushes the boundaries of their morality and sanity.

Atmosphere and Visuals: “Seven” is characterized by its atmospheric and foreboding tone. The rain-soaked streets of an unnamed city, the decaying urban landscapes, and the dimly lit interiors contribute to the film’s sense of dread and hopelessness. David Fincher’s meticulous direction and use of cinematography create a visually striking and oppressive atmosphere that reflects the moral decay and despair at the heart of the story.

Exploration of the Human Condition: At its core, “Seven” is a chilling examination of the human condition and the dark depths of the human psyche. The film delves into the themes of sin, guilt, and the consequences of unchecked human desires. Each murder represents one of the seven deadly sins, serving as a reflection of the flaws and moral failings that exist within society. “Seven” forces viewers to confront their own capacity for evil and question the boundaries of morality.

Character Dynamics and Performances: Morgan Freeman and Brad Pitt deliver compelling performances as the contrasting detectives. Freeman portrays Somerset as a wise and introspective investigator burdened by the darkness he has witnessed throughout his career. Pitt brings youthful energy and emotional intensity to the role of Mills, a detective driven by his desire to make a difference. The chemistry between the two actors adds depth and complexity to their evolving relationship as they navigate the psychological labyrinth set before them.

Unforgettable Climax: “Seven” is renowned for its shocking and unforgettable climax, which exposes the full extent of the killer’s twisted plan. The film’s conclusion confronts viewers with a devastating moral dilemma, leaving a lasting impact and provoking intense discussion and debate. The climax, along with the film’s ambiguous final moments, leaves audiences haunted by the dark truths it exposes.

Critical Reception and Cultural Impact: “Seven” was met with critical acclaim upon its release, praised for its atmospheric direction, gripping screenplay by Andrew Kevin Walker, and the performances of its cast. The film’s success solidified David Fincher’s reputation as a master of psychological thrillers. “Seven” has since become a cultural touchstone, influencing subsequent films in the genre and leaving an indelible mark on popular culture.

Legacy and Enduring Significance: “Seven” remains a benchmark in the psychological thriller genre, admired for its uncompromising depiction of violence and its exploration of human depravity. The film’s impact can be seen in its enduring popularity, its inclusion on lists of the greatest films of all time, and its influence on subsequent works that seek to capture its dark and atmospheric storytelling.

Conclusion: “Seven” is a haunting and visceral journey into the depths of the human psyche. With its gripping storyline, atmospheric visuals, and powerhouse performances, the film continues to captivate audiences and provoke contemplation on the nature of sin, morality, and the fragility of the human condition. “Seven” stands as a testament to David Fincher’s masterful storytelling and remains a timeless classic in the realm of psychological thrillers.

Create your own review

Seven, directed by David Fincher and released in 1995, is a masterfully crafted psychological thriller that immerses viewers in a dark and chilling world. With its atmospheric cinematography, intricate storytelling, and outstanding performances, the film stands as a benchmark in the genre. The film follows the story of two detectives, the seasoned and cynical Detective Somerset (Morgan Freeman) and the impulsive and ambitious Detective Mills (Brad Pitt), as they investigate a series of gruesome murders inspired by the seven deadly sins. As the detectives delve deeper into the case, they are drawn into a twisted game of cat and mouse with a meticulous and sadistic serial killer (Kevin Spacey). One of the greatest strengths of Seven lies in its atmospheric and immersive world-building. From the rain-soaked streets of a bleak and decaying city to the grim and unsettling crime scenes, the film creates a palpable sense of dread and despair. The meticulously crafted cinematography by Darius Khondji captures the gritty and dark tones of the narrative, enhancing the film's ominous atmosphere. The performances in Seven are exceptional across the board. Morgan Freeman delivers a commanding portrayal of the wise and world-weary Detective Somerset, bringing depth and gravitas to the character. Brad Pitt shines as the hot-headed Detective Mills, capturing the character's vulnerability and volatility with conviction. Kevin Spacey's portrayal of the enigmatic serial killer is chilling and haunting, leaving a lasting impact on viewers. David Fincher's direction is meticulous and precise, perfectly complementing the film's dark and unsettling tone. His keen attention to detail and ability to create tension through pacing and editing are on full display in Seven. The film's narrative unfolds with a deliberate pace, gradually building suspense and keeping viewers on the edge of their seats. The shocking and visceral climax remains one of the most memorable and impactful sequences in cinematic history. The screenplay by Andrew Kevin Walker is a dark and thought-provoking exploration of human nature and the destructive forces that lurk within society. It delves into themes of morality, justice, and the thin line between good and evil. The film's intricate plot keeps audiences engaged and guessing until the very end, with its twists and turns adding layers of complexity to the story. Seven's visual style is both gritty and stylish, with its somber color palette and atmospheric lighting reflecting the bleakness of the narrative. The production design effectively creates a world that feels lived-in and worn, further immersing viewers in the film's dark and grim atmosphere. The haunting and atmospheric score by Howard Shore adds an extra layer of tension and unease to the overall experience. In conclusion, Seven is a dark and gripping psychological thriller that showcases the mastery of director David Fincher. With its atmospheric cinematography, intricate storytelling, and outstanding performances, the film remains a standout in the genre. If you appreciate thought-provoking and unsettling narratives that push the boundaries of conventional crime thrillers, Seven is an absolute must-see. However, be prepared for its dark and disturbing themes, as the film ventures into deeply unsettling territory.

Another movie starring Brad Pitt and directed by David Fincher and I can say that I wasn’t disappointed. The concept and storyline were incredible and it will forever be one of the best crime movies I have ever watched, with it having an engaging plot, lots of action and ‘good’ murders. The movie was often tense constantly putting me on the edge of my seat which was achieved not only by the highly skilled acting, but also because of the music of Howard Shore who never fails to produce a soundtrack that reflects both the mood and style of a film. Both Pitt and Morgan Freeman portrayed their characters well, with it in my opinion being one of Freeman’s best roles. The gritty colour scheme helps to add to the tone of the movie, helping it to become one of the darkest yet cleverest crime thrillers I have ever watched. The plot, as I have already mentioned, is incredibly well written and I am looking forward to watching more films by the same director (David Fincher) since I have been very impressed with both this and Fight Club. Being both totally unsettling and totally gripping, I highly recommend it to anyone who doesn’t mind seeing a lot of gore or a film with a deeply depressing finale as, to me, it is one of the best movies I have ever watched.

I don’t usually want to comment on movies, but I won’t feel happy if I don’t share my joy about this film. I absolutely love this movie. This movie was the first time I saw a movie made by David Fincher, I spent the whole night on Wikipedia browsing about every single person who impressed me in the film. I think this is probably Fincher’s best work so far. This movie is the most suspense-filled thriller I have ever watched. The performances of the cast are so chilling yet captivating that you would wonder what hit you after watching the movie. This is the GREAT MOVIE that you don’t want to miss watching.

Have you seen these?

Seven Review

05 Jan 1996

126 minutes

Seven isn't just a movie, it's a mind fuck, a psychological trip through hell that leaves your head spinning, your heart pumping and your stomach crying out for the medicinal properties of a stiff whiskey, or five. Not since The Exorcist has there been a mainstream Hollywood studio movie as extraordinarily dark, bleak, intense, and as monumentally scary as this. From its sensory assaulting opening credits, through to its desolate and very shocking finale, Seven goes for the gut, and like an insidious gnawing in the pit of your stomach, it never lets up. Be warned, this is not comfortable viewing.

In an anonymous US city in which it always rains and nobody seems to have bothered to pay their electricity bill, a serial killer is busy slaying his victims according to the seven deadly sins: gluttony, greed, sloth, envy, etc, leaving a sick procession of corpses, each one murdered in a way related to their own particular sin: a wealthy defence lawyer is forced to cut off a pound of his own flesh (greed); an obese man is forced fed until his stomach explodes (gluttony); a prostitute (lust) is... well, best see for yourself. Assigned to the case are veteran cop William Somerset (Freeman), a methodical, world-weary thinker and a week away from retirement after 34 years on the force, and his hot-headed young new partner David Mills (Pitt), recently relocated, along with his wife (Paltrow), to this hellhole of a city, eager to make a name for himself. Try as they might they are always one step behind the murderer, but all too late his true motives are revealed to them.

Director David Fincher, who previously helmed the equally gloomy Alien3, creates an overwhelming sense of unease, presenting a world of irredeemable ugliness, a grim, melancholic, depressing, decaying society from which there is no escape. This movie even smells rank. But despite the gruesomeness of the crimes this is no slasher movie. In the same way that Manhunter relied on the psychological for its impact, so too does Seven. The victims are never killed onscreen. Instead, we catch glimpses of the corpses at the crime scene, or in the morgue, or in the snatches of black-and-white police photographs that are flashed before us. Perhaps more disturbingly, you are mostly left to visualise in your mind the full extent of the killer's atrocities when they are discussed, matter-of-factly, by Pitt and Freeman.

As the cops move closer to their foe (whose identity is revealed late and by then it doesn't really matter anyway since it's fundamentally irrelevant) the movie shifts from thriller territory into the realms of horror, and it's here that Fincher and screenwriter Andrew Kevin Walker pull off their greatest coup, a piece of cinematic genius - the most downbeat ending imaginable. Ever. You come away reeling, emotionally and mentally, shaken and most definitely stirred, muttering to yourself that they couldn't possibly have done that. But they did. Oh boy, did they. For the ending alone, this is simply unmissable.

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Seven (United States, 1995)

Frequently, mystery/thrillers present us with a cast of about six or seven characters, set up a sequence of grizzly murders, then "surprise" us by revealing which of those six or seven characters is the guilty party. It's a time-honored method that's repeated in at least several movies each year. At the outset, Seven has all the hallmarks of this kind of motion picture. Fortunately, it turns out somewhat smarter and less predictable. Though not without significant flaws, Seven isn't transparent or moronic, and it doesn't insult the average viewer's intelligence.

When all is said and done, the mystery of Seven is not who the killer is -- there's never any question about the identity -- but how he will outsmart the police next, and what he will do as a climax to his killing spree. It's refreshing to find an intelligent maniac who is not undone by a moment of sheer stupidity. From beginning to end, Seven 's murderer has the situation under control. The police are his pawns, not the other way around. Shades of Silence of the Lambs .

The good guys are a pair of detectives at opposite ends of their careers. David Mills (Brad Pitt) is new on the job, full of energy and high ideals, and ready to "make a difference" by catching the crooks. William Somerset (Morgan Freeman) is in his last week on the job. His long years studying crime scenes and following up on clues have left him weary and jaded. To him, being a detective isn't about nabbing criminals -- it's about methodically collecting and cataloguing evidence in case a prosecutor ever needs it.

The serial killer pursued by Mills and Somerset is choosing each of his victims based on which of the seven deadly sins (gluttony, greed, sloth, lust, pride, envy, wrath) they have most clearly violated. The deaths form a portion of a decidedly warped sermon.. In their quest to end this bloody, sadistic spree, the two cops appear well-paired, as together they make the perfect detective. Mills is all brawn and little brain. Somerset, on the other hand, spends long hours in the library researching Dante and Chaucer, looking for clues that will enable him to prevent the next killing.

One of the problems with Seven is that Pitt's Mills is not an especially likable character. He's cocky and arrogant, with an inflated opinion of himself. Up until the end, he's convinced that his way is always the best. Pitt doesn't turn in one of his most impressive performances here, either. There's no subtlety whatsoever. In this film, the actor has a single mode: overdrive. Somerset, on the other hand, is a subdued and balanced personality perfectly essayed by Morgan Freeman. By emoting less than his co-star, Freeman frequently steals scenes from him. Gwyneth Paltrow ( Flesh and Bone, Jefferson in Paris ), one of today's better young actresses, is woefully underused in the role of Mills' wife, Tracy.

Seven is unnecessarily gory and runs for a little too long, but neither of these elements detracts much from the film's enjoyability (unless you have a weak stomach). The same is true of several logical flaws -- they're there, but not overly apparent while the film is on-screen (they can be ruminated about after the credits have rolled). While Seven lacks the cleverness of the superior Usual Suspects , it's strong enough to hold its own against most other thrillers. Seven may always be grim, dark, and rainy, but at least there's a little substance beneath the atmosphere.

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‘7 (Seven)’ review: An ‘investigative thriller’ that will make you LOL

7' (seven) is what happens when you think you've written a gripping film, and then when it is adapted to the screen, you learn that it can be two different things.

Published - June 05, 2019 04:37 pm IST

A still from 7(Seven)

Caricature. This word kept popping up in my head as I watched cinematographer Nizar Shafi's debut directorial 7 (Seven) because a lot of what unfolds in the film is caricature...ish. The hero, the cop (Rahman), the women, and even the journalist's character (with a jolna bag, kurta and nerdy glasses) all exist to prove that point.

Where to begin? Well, credit where it is due, Shafi's camera work is bearable for its nearly two hour run time. Nothing exemplary about it, but it isn't jarring to prompt a quick exit from the theatre. The list of "pros" ends there.

The writing is a big letdown. One particular scene, early on in the film, where an old man meets Rahman's ACP Vijay Prakash to share vital info, helped me make my mind up about what was in store. Soon as he drops a bombshell — in other words, plot la twist — he is revealed to be a mental patient, and is dragged out of the cop's room by a doctor and a ward boy all in a matter of five seconds! Shafi, going forward, should consider deputing this responsibility to someone who understands the difference between scripting for a staged drama and a movie.

• Cast: Havish, Regina Cassandra, Rahman, Nandita Swetha, Anisha Ambrose
• Director: Nizar Shafi
• Storyline: A man who is suspected of cheating many women after marrying them, is actually the victim of a cunning plot hatched by a psychotic woman

Then there's the romance. I can stand mokka comedy, but why present it as acceptable commentary between a couple in a relationship? Sample this. Nandita Swetha (as Ramya — a 'why did I do this role?') tells Havish that her family is urging her to get married soon. To which the hero responds, "Ponnunga na konjam freedom kudukkanum!"... and this revolutionary response is greeted with a "romba matured ah pesureenga!"

But what gripped me from start to end of this film was a feeling of 'What am I watching?' (minus the profanity). David Fincher's The Curious Case of Benjamin Button is name-dropped more than twice. Shafi himself appears in a blink-and-you-miss cameo to put forward the point that perhaps the mystery we're "investigating" in this film is something similar to what we saw in Fincher's. But when has a thriller ever been straightforward?

And so it proves, when Regina Cassandra is revealed to be the key. But wait! She is not. It is actually the older version of Regina. Credit to the elderly artiste who played that role, but when she yells at Havish... "Neeya sethuru, illana naa unna konnuduven!", the audience had a hearty laugh. I think it isn't too difficult to draw a parallel between the situations of the watching public and Havish!

Because 7 (Seven) is what happens when you think you've written a gripping film, and then when you adapt it to screen, you learn that it can be two different things.

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How to Write a Movie Review

Last Updated: August 11, 2024 Fact Checked

This article was co-authored by Marissa Levis . Marissa Levis is an English Teacher in the Morris County Vocational School District. She previously worked as an English director at a tutoring center that caters to students in elementary and middle school. She is an expert in creating a curriculum that helps students advance their skills in secondary-level English, focusing on MLA formatting, reading comprehension, writing skills, editing and proofreading, literary analysis, standardized test preparation, and journalism topics. Marissa received her Master of Arts in Teaching from Fairleigh Dickinson University. There are 14 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 5,653,038 times.

Whether a movie is a rotten tomato or a brilliant work of art, if people are watching it, it's worth critiquing. A decent movie review should entertain, persuade and inform, providing an original opinion without giving away too much of the plot. A great movie review can be a work of art in its own right. Read on to learn how to analyze a movie like a professional film critic, come up with an interesting thesis, and write a review as entertaining as your source material.

Sample Movie Reviews

Writing an Intro for a Movie Review

• Comparison to Relevant Event or Movie: "Every day, our leaders, politicians, and pundits call for "revenge"– against terrorist groups, against international rivals, against other political parties. But few of them understand the cold, destructive, and ultimately hollow thrill of revenge as well as the characters of Blue Ruin. "
• Review in a nutshell: "Despite a compelling lead performance by Tom Hanks and a great soundtrack, Forrest Gump never gets out of the shadow of its weak plot and questionable premise."
• Context or Background Information: " Boyhood might be the first movie made where knowing how it was produced–slowly, over 12 years, with the same actors–is just as crucial as the movie itself."

• Using stars, a score out of 10 or 100, or the simple thumbs-up and thumbs-down is a quick way to give your thoughts. You then write about why you chose that rating.
• Great Movie: ABC is the rare movie that succeeds on almost every level, where each character, scene, costume, and joke firing on all cylinders to make a film worth repeated viewings."
• Bad Movie: "It doesn't matter how much you enjoy kung-fu and karate films: with 47 Ronin, you're better off saving your money, your popcorn, and time."
• Okay Movie: "I loved the wildly uneven Interstellar far more than I should have, but that doesn't mean it is perfect. Ultimately, the utter awe and spectacle of space swept me through the admittedly heavy-handed plotting and dialogue."

• Great: "Michael B. Jordan and Octavia Spencer's chemistry would carry Fruitvale Station even if the script wasn't as good. The mid-movie prison scene in particular, where the camera never leaves their faces, shows how much they can convey with nothing but their eyelids, the flashing tension of neck muscles, and a barely cracking voice."
• Bad: " Jurassic World's biggest flaw, a complete lack of relatable female characters, is only further underscored by a laughably unrealistic shot of our heroine running away from a dinosaur – in heels."
• Okay: "At the end of the day, Snowpiercer can't decide what kind of movie it wants to be. The attention to detail in fight scenes, where every weapon, lightbulb, and slick patch of ground is accounted for, doesn't translate to an ending that seems powerful but ultimately says little of substance."

• Does the film reflect on a current event or contemporary issue? It could be the director's way of engaging in a bigger conversation. Look for ways to relate the content of the film to the "real" world.
• Does the film seem to have a message, or does it attempt to elicit a specific response or emotion from the audience? You could discuss whether or not it achieves its own goals.
• Does the film connect with you on a personal level? You could write a review stemming from your own feelings and weave in some personal stories to make it interesting for your readers.

Composing Your Review

• When you name characters in your plot summary, list the actors' names directly afterward in parenthesis.
• Find a place to mention the director's name and the full movie title.
• If you feel you must discuss information that might "spoil" things for readers, warn them first.

• Cinematography: " Her is a world drenched in color, using bright, soft reds and oranges alongside calming whites and grays that both build, and slowly strip away, the feelings of love between the protagonists. Every frame feels like a painting worth sitting in."
• Tone: "Despite the insane loneliness and high stakes of being stuck alone on Mars, The Martian's witty script keeps humor and excitement alive in every scene. Space may be dangerous and scary, but the joy of scientific discovery is intoxicating."
• Music and Sound: " No Country For Old Men's bold decision to skip music entirely pays off in spades. The eerie silence of the desert, punctuated by the brief spells of violent, up-close-and-personal sound effects of hunter and hunted, keeps you constantly on the edge of your seat."
• Acting: "While he's fantastic whenever he's on the move, using his cool stoicism to counteract the rampaging bus, Keanu Reeves can't quite match his costar in the quiet moments of Speed, which falter under his expressionless gaze."

• Keep your writing clear and easy to understand. Don't use too much technical filmmaking jargon, and make your language crisp and accessible.
• Present both the facts and your opinion. For example, you might state something such as, "The Baroque background music was a jarring contrast to the 20th century setting." This is a lot more informative then simply saying, "The music was a strange choice for the movie."

• Great: "In the end, even the characters of Blue Ruin know how pointless their feud is. But revenge, much like every taut minute of this thriller, is far too addictive to give up until the bitter end.""
• Bad: "Much like the oft-mentioned "box of chocolates", Forest Gump has a couple of good little morsels. But most of the scenes, too sweet by half, should have been in the trash long before this movie was put out."
• Okay: "Without the novel, even revolutionary concept, Boyhood may not be a great movie. It might not even be "good.” But the power the film finds in the beauty of passing time and little, inconsequential moments – moments that could only be captured over 12 years of shooting – make Linklater's latest an essential film for anyone interested in the art of film."

Polishing Your Piece

• Ask yourself whether your review stayed true to your thesis. Did your conclusion tie back in with the initial ideas you proposed?
• Decide whether your review contains enough details about the movie. You may need to go back and add more description here and there to give readers a better sense of what the movie's about.
• Decide whether your review is interesting enough as a stand-alone piece of writing. Did you contribute something original to this discussion? What will readers gain from reading your review that they couldn't from simply watching the movie?

Studying Your Source Material

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

• Make a note every time something sticks out to you, whether it's good or bad. This could be costuming, makeup, set design, music, etc. Think about how this detail relates to the rest of the movie and what it means in the context of your review.
• Take note of patterns you begin to notice as the movie unfolds.
• Use the pause button frequently so you make sure not to miss anything, and rewind as necessary.

• Direction: Consider the director and how he or she choose to portray/explain the events in the story. If the movie was slow, or didn't include things you thought were necessary, you can attribute this to the director. If you've seen other movies directed by the same person, compare them and determine which you like the most.
• Cinematography: What techniques were used to film the movie? What setting and background elements helped to create a certain tone?
• Writing: Evaluate the script, including dialogue and characterization. Did you feel like the plot was inventive and unpredictable or boring and weak? Did the characters' words seem credible to you?
• Editing: Was the movie choppy or did it flow smoothly from scene to scene? Did they incorporate a montage to help build the story? And was this obstructive to the narrative or did it help it? Did they use long cuts to help accentuate an actor's acting ability or many reaction shots to show a group's reaction to an event or dialogue? If visual effects were used were the plates well-chosen and were the composited effects part of a seamless experience? (Whether the effects looked realistic or not is not the jurisdiction of an editor, however, they do choose the footage to be sent off to the compositors, so this could still affect the film.)
• Costume design: Did the clothing choices fit the style of the movie? Did they contribute to the overall tone, rather than digressing from it?
• Set design: Consider how the setting of the film influenced its other elements. Did it add or subtract from the experience for you? If the movie was filmed in a real place, was this location well-chosen?
• Score or soundtrack: Did it work with the scenes? Was it over/under-used? Was it suspenseful? Amusing? Irritating? A soundtrack can make or break a movie, especially if the songs have a particular message or meaning to them.

Expert Q&A

• If you don't like the movie, don't be abusive and mean. If possible, avoid watching the movies that you would surely hate. Thanks Helpful 0 Not Helpful 0
• Understand that just because the movie isn't to your taste, that doesn't mean you should give it a bad review. A good reviewer helps people find movie's they will like. Since you don't have the same taste in movies as everyone else, you need to be able to tell people if they will enjoy the movie, even if you didn't. Thanks Helpful 0 Not Helpful 0
• Structure is very important; try categorizing the different parts of the film and commenting on each of those individually. Deciding how good each thing is will help you come to a more accurate conclusion. For example, things like acting, special effects, cinematography, think about how good each of those are. Thanks Helpful 0 Not Helpful 0

You Might Also Like

Expert Interview

Thanks for reading our article! If you’d like to learn more about writing, check out our in-depth interview with Marissa Levis .

• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_film/terminology_and_starting_prompts.html
• ↑ https://www.spiritofbaraka.com/how-write-a-movie-review
• ↑ https://www.nyfa.edu/student-resources/9-tips-for-writing-a-film-review/
• ↑ https://en.oxforddictionaries.com/writing-help/top-tips-for-writing-a-review
• ↑ https://writingcenter.unc.edu/tips-and-tools/summary-using-it-wisely/
• ↑ https://twp.duke.edu/sites/twp.duke.edu/files/file-attachments/film-review-1.original.pdf
• ↑ https://www.dailywritingtips.com/7-tips-for-writing-a-film-review/
• ↑ https://owl.purdue.edu/owl/subject_specific_writing/writing_in_literature/writing_about_film/film_writing_sample_analysis.html
• ↑ https://learning.hccs.edu/faculty/onnyx.bei/dual-credit/movie-review-writing-guide
• ↑ https://writingcenter.unc.edu/tips-and-tools/conclusions/
• ↑ https://www.grammarly.com/blog/how-to-write-a-movie-review/
• ↑ https://gustavus.edu/writingcenter/handoutdocs/editing_proofreading.php
• ↑ https://writingcenter.unc.edu/tips-and-tools/editing-and-proofreading/
• ↑ https://edusson.com/blog/how-to-write-movie-review

About This Article

To write a movie review, start with a compelling fact or opinion to hook your readers, like "Despite a great performance by Tom Hanks, Forrest Gump never overcomes its weak plot." Then, elaborate on your opinion of the movie right off the bat so readers know where you stand. Once your opinion is clear, provide examples from the movie that prove your point, like specific scenes, dialogue, songs, or camera shots. To learn how to study a film closely before you write a review, scroll down! Did this summary help you? Yes No

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Breanna Lukes

Oct 17, 2018

Mar 31, 2021

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Movie Review: Style triumphs over logic in Zoë Kravitz’s great-looking but vexing ‘Blink Twice’

This image released by Amazon/MGM Studios shows Naomi Ackie, left, and Alia Shawka in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Channing Tatum in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Channing Tatum and Naomi Ackie in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Naomi Ackie in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Channing Tatum from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Naomi Ackie, left, and Channing Tatum in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

This image released by Amazon/MGM Studios shows Liz Caribel, left, and Trew Mullen in a scene from “Blink Twice.” (Carlos Somonte/Amazon-MGM via AP)

• Copy Link copied

“Love means never having to say you’re sorry,” somebody once famously said in the movies. It made utterly no sense in 1970, but even less so now. In recent decades, the apology has become all the rage.

So at the beginning of Zoë Kravitz’s “Blink Twice,” when her tech-mogul protagonist, Slater King, sits on a TV couch and says “I’m sorry” for some unexplained transgression, well, it’s a familiar scene. Pick your offender, pick your year: Famous person issues ritual apology, gets off grid for a bit (in this case, a remote island with chickens) and returns, presumably forgiven. We’ve seen it all before.

Not that it isn’t fun to watch here — especially because Channing Tatum is so delightfully, charmingly smarmy in the role. “Blink Twice” is a big swing for him as an actor and even a bigger one for Kravitz, his life partner, as director and co-writer of this stylish, ambitious, buzzy film that seems to aspire to be a gender-themed “Get Out,” or a #MeToo-era thriller with echoes of “Promising Young Woman.”

And Kravitz almost pulls it off. With the help of a terrific cast, she offers strikingly confident, brashly entertaining filmmaking, until everything seems to break down in a mess of porous storytelling. It’s not the sudden intrusion of gore that’s the issue — this is a horror film, duh. It’s the sudden departure of logic. Perhaps you won’t be able to turn away — but, unlike in Jordan Peele’s or Emerald Fennell’s above-mentioned films, you won’t necessarily be able to explain what you saw, either.

But it sure is crackling fun, until it isn’t — which is a pretty apt way to describe the experience that Frida (Naomi Ackie, excellent) has. A cocktail waitress who designs nail art, Frida lives in a rundown apartment with roommate Jess (Alia Shawkat). When the two get a waitressing gig at a fundraiser, they cleverly plot to change into slinky dresses midway so they can mingle with wealthy guests.

Turns out, it’s a fundraiser for Slater’s firm, and when Frida trips, it’s the billionaire himself who helps her up. He introduces her to his friends, and soon, Frida and Jess can’t believe their luck — they’re on Slater’s plane, en route to his very own Fantasy Island.

The water is sparkling. The champagne is, too. Frida and Jess’ closets are filled with resort wear in stylish white, matching those given the other female guests: the flaky and/or stoned Camilla and Heather, and hard-nosed, sharp-elbowed Sarah, who has eyes on Slater and thus daggers out for Frida. (Adria Arjona’s Sarah is easily the most compelling performance of the movie.)

The food, prepared by Slater’s buddy Cody (Simon Rex), is impeccable. (His other pals are played by Christian Slater, Haley Joel Osment and Levon Hawke, and his therapist by Kyle MacLachlan.) Alcohol is plentiful, sheets are soft, and there’s drugs, too — to be used “with intention,” according to Slater, whatever that means. Days are long, nights are longer, and soon nobody knows what day it is anyway.

But why is that, exactly? Well, all phones were confiscated upon arrival by Stacy, Slater’s ditzy assistant — Geena Davis, a hoot but somewhat underused (and one should never underuse Geena Davis). But something deeper seems at play. We’re trying to avoid spoilers, but as Jess tells Frida, “There is something wrong with this place.”

That would be easy enough to figure out just by looking at the oddly terrifying faces of the resort workers (shades of “Get Out”) who are surely hiding something. Also: why does Frida have dirt under her fingernails? And what happened to a red stain on her dress? Weird stuff is happening.

But Frida, still, is angry that Jess is balking. They’re on a gorgeous island, and someone important is courting her. “For the first time in my life I’m here and I’m not invisible, so please,” she admonishes her friend.

And so the pretense continues — that pretense, familiar in the Instagram era, of always having a good time. “Are you having a good time?” Slater asks more than once. “Yes!” says Frida, less convincingly as time goes on.

And when everything has gone to utter bloody, gory chaos, someone still suggests, eerily: “There’s a version of this where we’re all having a good time.”

There’s a deeper undercurrent here. Women, Kravitz has posited, are always expected to smile, play the game, pretend they’re having a good time — and, she says, to “forget” the bad stuff. And so forgetting is a prominent element in her film, one we won’t spoil.

In any case, there’s indeed a version of Kravitz’s film in which we’re all having a great time — most of it, actually. She just needs to stick the landing. We’ll all be eager to see what comes next.

“Blink Twice,” an Amazon/MGM release, has been rated R by the Motion Picture Association “for strong violent content, sexual assault, drug use and language throughout, and some sexual references.” Running time: 103 minutes. Two and a half stars out of four.

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10 New Movies Our Critics Are Talking About This Week

Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about.

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By The New York Times

Critic’s Pick

Sweet without the schmaltz.

‘Between the Temples’

Ben (Jason Schwartzman), a cantor at a local synagogue who is grieving the loss of his wife, reconnects with his former music teacher in this touching dramedy directed by Nathan Silver.

From our review:

Silver is a sharp, cleareyed observer of human nature, and while he pokes at his characters, including Ben, it’s more teasing than cruel. If there’s a mean joke in “Between the Temples,” I missed it, which helps explain where Silver is coming from. He and Schwartzman make Ben’s pain palpable without sentimentalizing it; you see the hurt in the sag of Ben’s shoulders and in the melancholy that clouds his eyes. Yet there’s a fundamental resilience to the character who, while he’s sometimes off on his own, is never really alone.

In theaters. Read the full review .

Bites off more commentary than it can chew.

‘blink twice’.

After Frida (Naomi Ackie) and Jess (Alia Shawkat) accept an invite to the private island of a tech billionaire (Channing Tatum), they discover an unexpected cost to their free vacation.

To land its horror-stained commentary on sexual assault and cancel culture as well as class and race, it would need a director capable of pushing beyond basic social politics. In her debut feature, Zoë Kravitz is not that director. Rather her film, for which she also wrote the screenplay with E.T. Feigenbaum, exists more as a concept than a complete idea.

Resurrected but better off dead.

Directed by Rupert Sanders, this new adaptation of the comic book series about a grief-stricken, supernatural vigilante tries to escape the shadow cast by the cult-classic film adaptation from 1994.

“Do you think angsty teens would build shrines to us?” Shelly (FKA Twigs) asks Eric (Bill Skarsgard) about their love story … but the real punchline is that the film itself is the embodiment of that kind of hollow caricaturization and emo teen worship, throwing vague echoes of Batman’s Joker villain, “John Wick,” and 2005’s “Constantine” into a laundry machine and hoping faded shades of black eyeliner remain.

A missing actor, a ponderous film.

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My Hero Academia: You're Next

Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired. Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired. Izuku Midoriya, a U.A. High School student who aspires to be the best hero he can be, confronts the villain who imitates the hero he once admired.

• Tensai Okamura
• Yôsuke Kuroda
• Kôhei Horikoshi
• Kaito Ishikawa
• Kenta Miyake
• 1 User review

• Shoto Todoroki

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• Trivia This is the final My Hero Academia movie, as the manga ended a few days after the film's release.
• Connections Spin-off from My Hero Academia (2016)

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• October 11, 2024 (United States)
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• 我的英雄學院劇場版：You're Next
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• $16,143,971

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• Runtime 1 hour 50 minutes

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