movie essay rubric

Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

• Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
• Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
• Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

• Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
• In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
• When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
• Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

• What objects or images are repeated throughout the film?
• How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
• How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

• How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
• What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
• Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

• How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
• How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
• How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

• What effects are created in a scene, and what is their purpose?
• How does this scene represent the theme of the movie?
• How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

• Milford High School
• Stacy Middle School
• Woodland Elementary School
• Brookside Elementary School
• Memorial Elementary School
• Shining Star Early Childhood Center

Scarlet Hawks SOAR!

• Principal's Page
• Associate Principal
• Assistant Principals
• Staff Directory
• Phone Directory
• School Profile
• School Report Cards
• Local, State, and National Testing
• Callback System
• Course Catalog
• Daily Announcements
• Jackie's Boutique
• Report an Absence
• 2023-2024 Student-Parent Handbook
• 180 Schedule
• Bell Schedules
• Marking Periods
• Featured Videos
• Global Exchange Programs
• Project Search
• School Improvement Council
• Virtual High School (VHS)
• English Language Arts
• English Language Learners
• Food Services
• Library/Media Center
• Physical Education
• Practical Arts/Technology
• Pre-Vocational
• Social Studies
• Special Education
• Visual Arts
• World Language
• Allegrezza, Amy (English)
• Allegrezza, Elizabeth (World Language)
• Almquist-Ganis, Sara (Math)
• Alves, Christian (English)
• Anniballi, Aaron (Special Education)
• Batchelder, Elena (World Language)
• Bauer, Caleigh (ESL)
• Bejar Gomez, Mercedes (World Language)
• Blanchard, Caroline (English)
• Blanchard, Loren (Special Education)
• Boccia, Peter (Social Studies)
• Boday, Jill (Music)
• Brown, Jennifer (English)
• Brunyak, Maryellen (Math)
• Buckley, Lydia (World Language)
• Callahan, Patrick (Social Studies)
• Calzolaio, Christopher (English)
• Cardoso, Wendy (EL)
• Carty, Christine (Math)
• Correia, Bruna (EL)
• Costa, Austin (Science)
• Cote, Katherine (Science)
• Cote, Tiffany (Art)
• Couture, Emilia (Math)
• Culhane, Nicole (Math)
• Cullen, Thomas (Physical Education)
• Cullen, Timothy (Social Studies)
• Cunningham, Amanda (English)
• Cunningham, Eamon (English)
• Danish, Kimberly (Special Ed)
• DeAngelo, Francis (Social Studies)
• Diana, Olivia (Science)
• Dion, Alexander (Practical Arts/Technology)
• Dolliver, Thomas (Math)
• Donato, Jen (EL)
• Douglass, Victoria (SPED)
• Dowd, Timothy (English)
• Edwards, Brian (Math)
• Fabun, Sean (Social Studies)
• Ferrara, Deborah (Science)
• Ferreira, Kristina (Math)
• Fitzgerald, Brian (SPED)
• Flannery, Kimberly (Practical Arts)
• Flood, Jacqueline (Math)

Folster, Jeremy (Practical Arts/Technology)

• Forgit, Alexis (SPED)
• Fransen, Annmarie (World Language)
• Fulginiti, Nicole (English Learner/EL)
• Gaucher, Nathan (Special Education)
• Gaudet, Damien (Practical Arts/Technology)
• Girouard, Margaret (English)
• Gordan, Daniel (English)
• Grillo, James (Social Studies)
• Guerreiro, Bianca (EL Teacher)
• Haranas, Katherine (Special Education)
• Hunt, Ursula (Business/Practical Arts)
• Johnson, Linda (Practical Arts/Technology)
• Jones, Rachel (English Learner/EL)
• Kapitan, Krista (Science)
• Knapp, Robert (Science)
• LaFleur, Emma (EL)
• Lando, Kristina (Math)
• Laut, Matthew (Science)
• Lemire, Katherine (Math)
• Liberto, Benjamin (Social Studies)
• Liberto, Nicholas (Social Studies)
• Lorence, Kelly (Math)
• Magalhaes, Vania (World Language)
• Maier, Sandra (SPED)
• Mainini, Andrew (World Language)
• Manning, Melissa (Science)
• Maurais, Elizabeth (Math)
• McCord, Jason (Special Education)
• McKinney, Heidi (World Language)
• Mehrtens, Karissa (Science)
• Mendes, Nichole (EL)
• Michalewski, Oliver (Math)
• Mitchell, John (Social Studies)
• Mitchell, Susan (SPED)
• Molinari, Mike (Social Studies)
• Molinari, Nicholas (Media)
• Mulcahy, Jennifer (SPED)
• Mutawakil, Alicia (Math)
• Nelson, Daniel (Practical Arts/Technology)
• Neville, Catherine (Science)
• Oliveri, Christina (English Learner/EL)
• Phipps, Samuel (Science)
• Pinto, Mark (Practical Arts/Technology)
• Pomeroy, Nadine (Music)
• Potty, Jason (Physical Education)
• Rogers, Wyatt (English)
• Rohde, Sarah (Music)
• Roy, Mark (Practical Arts)
• Rua, Fernando (Practical Arts)
• Ruscitti, Kerri (SPED)
• Ruscitti, Sara (World Language)
• Ryan, Shannon (Health)
• Santangelo, Michele (SPED)
• Santomenna, Dustin (Social Studies)
• Sevastos, Jodi (Physical Education)
• Sherman, Neal (Science)
• Small, Caitlyn (Math)
• Smith, Jenna (Social Studies)
• Smith, Kaleigh (Social Studies)
• Snyder, Anne (Art)
• Sroczynski, Debra (Physical Education)
• Stagani, Greg (Business)
• Travis, Avery (Science)
• Vanderkeyl, John (Social Studies)
• Vazquez, Lilia (World Language)
• Voss-Dorman, Christina (English)
• Walsh, Timothy (Science)
• Weaver, Shari (Science)
• Zarrilli, Dianna (SPED)
• Aghajanian, Kristen (English)
• Gravit, Melissa (English)
• Forms & Publications
• Traducciones/ Traduções
• High School Calendar
• Stacy Calendar
• Woodland Calendar
• Brookside Calendar
• Memorial Calendar
• Shining Star Calendar
• 23-24 ACTIVITY CLUB OVERVIEW
• A LIST OF CLUB AND ACTIVITIES
• ACADEMIC DECATHALON
• BAKING CLUB
• BEST BUDDIES
• CLASS OF 2024
• CLASS OF 2025
• CLASS OF 2026
• CLASS OF 2027
• CUBING CLUB
• DEBATE CLUB
• FRENCH CLUB
• GARDEN CLUB
• GAY/STRAIGHT ALLIANCE
• GIRLS WHO CODE
• MATH LEAGUE
• NATIONAL ART HONOR SOCIETY
• NATIONAL FRENCH HONOR SOCIETY
• NATIONAL HONOR SOCIETY
• NATIONAL ITALIAN HONOR SOCIETY
• NATIONAL PORTUGUESE HONOR SOCIETY
• NATIONAL SCIENCE HONOR SOCIETY
• NATIONAL SPANISH HONOR SOCIETY
• NATIONAL TRI-M HONOR SOCIETY
• NEW ENGLAND MATH LEAGUE
• OLI YEARBOOK
• PEN-IN-A-BOX
• PERCUSSION ENSEMBLE
• SCARLET NEWSPAPER
• SCIENCE OLYMPIAD
• SEWING CLUB
• SPECIAL OLYMPICS
• STUDENT COUNCIL
• THEATER WORKSHOP
• After Prom Committee
• Athletic Boosters
• Parents for Music
• School Council
• Traducciones/Traduções "
• Summer Reading Program
• Digital Learning Resources
• Family Portal Information
• Family Resource Center
• MHS Chromebook Problem Reporting Form
• NAVIANCE Family Connection
• Online Destiny Library Catalog
• Student and Community Volunteer Opportunities
• Staff Only Pages
• AESOP Online
• Maintenance Requests
• Staff Email
• 51-A Procedure
• Technology Help Desk
• Technology Tips & Training
• Community Use Program
• Massachusetts Libraries Database
• Milford Family and Community Network
• Milford Town Library
• Milford Youth Center
• Town of Milford
• Wayside Youth and Family Support Network
• Foreign Language (Grades 7-12)
• Prospective Students & Families
• Remote Learning & School Closure Information
• District & School Communications

Page Navigation

• Lessons - VP1
• Syllabus - VP1
• Lessons - VP2
• Syllabus - VP2
• Lessons - VP3
• Syllabus - VP3
• Video Production 3

Movie Review Rubric

This is the Rubric that will be used for grading all writing assignments in class.

Address 31 West Fountain Street, Milford, MA 01757

Phone 508-478-1110

Fax 508-478-1460

• Questions or Feedback? |
• Web Community Manager Privacy Policy (Updated) |

Table of Contents

Collaboration, information literacy, writing process, rhetorical analysis of film – elements of film.

• © 2023 by Christine Photinos - National University, San Diego , Ramie Tateishi

Rhetorical choices in film are made on the narrative level (of story/plot), the visual level, and the audio level. Camera range, camera angles, point of view, lighting, editing, sound--these are rhetorical devices (aka elements of film) that directors use to signify meaning, tone, and emotions.

This article focuses on film. It describes some terminology to use when writing about the rhetorical devices used in film. It explores of how elements of a film work together to communicate ideas and create specific audience orientations, identifications, feelings, and attitudes.

Introduction

When you study rhetorical devices, you are studying how a text uses symbols to elicit particular responses or suggest particular meanings. These “symbols” might be words, sounds, or images, and a “text” can be anything from a famous speech to the back of a cereal box. [ Semiotics: Sign, Signifier, Signified ]

In looking at how meaning is constructed in film, try to trace your observations back to use of specific devices. Consider which device (or combination of devices) generates the tone and atmosphere that you associate with a scene, as well as any symbolic representations of the film’s themes that you may identify in a scene.

Every element of a film represents a set of choices, including choices about lighting, camera placement, sound, and shot duration. Even a camera set in one place and left to run for hours (as in Andy Warhol’s 1964 Empire ) represents a set of choices with implications for how you experience the film. Studying these choices may not necessarily reveal the purposes of filmmakers themselves, but it will give you greater insight into how cinematic rhetorical devices convey meaning, which can help you better understand your responses to film.

Rhetorical choices in film are made on the narrative level (of story/plot), the visual level (of how all onscreen elements are presented), and the audio level (of how the volume levels of all sound elements are mixed in relation to each other), so focus on how meaning is shaped on each of these levels.

Camera Range

The term  mise-en-scene  refers to the composition of all objects within the film frame in any given shot. Note the placement of the main subject or subjects of a shot in relation to the environment, as well as the placement of objects in the foreground and the background of the film frame. A key consideration in analyzing mise-en-scene is the degree to which our perception and understanding of the subject(s) is shaped by the use of close range or long range, and the use of other visual elements in the frame to possibly suggest certain characteristics associated with the subject.

A shot that tightly frames a subject.

Some applications:

• Identify a character as important.
• Communicate a character’s emotions.
• note:  Withholding  of close-ups can create distance and impede audience identification with a character.

Medium shot

A shot that shows the subject from approximately the waist up.

• Show both body language and facial expression.
• Focus attention on the subject while retaining some contextual information.
• Show interactions among characters.

A shot that includes the entire subject as well as the subject’s surroundings.

• Focus attention on context and surroundings.
• Suggest relationship between scene and character.
• Show body language.

Camera Angles

Note how the camera establishes its baseline depiction of everyday reality through the choice of straightforward, level views of the subject(s). An awareness of the construction of this sense of everyday reality will make it clear when a sense of heightened reality is introduced through the use of different camera angles that provide us with a different vantage point that calls attention to the subject in different ways.

High angle shot

Shows the subject from a high angle.

• Cause subject to appear vulnerable.
• Elicit viewer concern or sympathy for the subject.
• Heighten intensity of a scene.

Low angle shot

Shows the subject from a low angle.

• Cause subject to appear more imposing.
• Cause setting to appear more imposing.
• Show the perspective of a depicted or implied character positioned below.

Canted angle shot

Tilts the camera on its x-axis.

• Mark an altered psychological state in a character (such as disorientation, or a mental drift into memory or fantasy).
• Create a sense of disorientation in the viewer.
• Suggest sinisterness (as when a villain is shot from a “twisted” angle).

Point of View

The depiction of the subject via camera range and camera angles is presented through a point of view that determines how much access we are granted into the subject’s range of action. Think of how the camera’s point of view is always being strategically utilized to give us a very focused perspective on whatever action is taking place, forcing the spectator to view unfolding events through the very specifically-defined window of the film frame.

Establishing shot

A type of long shot, this shot is taken from a distance and shows the broad context in which the action will unfold.

• Orient the viewer in space and time.
• Draw upon a set of significations associated with a particular location.
• Create a sense of realism.

Reaction shot

Shows the response of a character, or any onlooker, to an action.

• Guide viewer’s understanding of the action.
• Guide viewer’s understanding of a character’s experience of the action.
• Invite positive or negative judgment of the reacting character based on the reaction.

Point of view shot

Shows the scene as viewed from a particular character’s perspective. Can be objective (as in an over-the-shoulder shot) or, less commonly, subjective (as if the viewer shares the same eyeballs as the character).

• Reveal a character’s perspective.
• Bring the viewer into a character’s world view.
• Suggest a character’s emotional or physiological state.

Similar to the process of analyzing point of view, look first at how shots are lit in order to produce a straightforward depiction of a naturalistic environment. With this in mind, you can then notice when different lighting techniques are used to emphasize or undercut certain aspects of characters or settings. Note how the lighting-related rhetorical devices described here can be supplemented with the use of fill lighting , smaller lights used to accentuate even more specific parts of characters, objects, and settings.

Backlighting

Light source is positioned behind the subject.

• Create a glowing, otherworldly effect.
• Suggest romance.
• Suggest virtuousness.

Low-key lighting

Lighting that produces shadowy areas.

• Create an atmosphere of mystery.
• Suggest ambiguity or hidden motivations.
• Heighten sense of harshness or misfortune.

High-key lighting

Bright lighting producing even illumination with few shadows.

Some applications :

• Suggest optimism.
• Suggest cheerfulness.
• Create an atmosphere of clarity.

Shots are combined into scenes, which represent continuous actions/moments in time. An analysis of editing as a rhetorical device might entail making a claim about how tone/atmosphere or characterization is affected by the pacing of a scene as constructed through editing techniques.

Fast cutting

Technique in which shots appear in rapid succession.

• Create an energetic or frenzied feeling.
• Create a sense of urgency.
• Quickly communicate information (as in movie trailers).

A shot which is held for a long duration of time.

• Force concentrated attention on the subject(s) within the frame.
• Introduce a location.
• Create the experience of the passage of “real time.”

One of the most famous long takes in American film history is the opening scene of Orson Welles’s 1958 Touch of Evil :

A transition from one image to another in which one image disappears while the next appears, with the two images temporarily superimposed.

• communicate a change in scene or time.
• signal a relationship between two scenes.
• expose a character’s thoughts (as when a close-up dissolves to a person or place the character is thinking about).

Dramatic irony

Dramatic irony is generated when the audience possesses knowledge not shared by the character/s—as when a scene cuts away from a character’s field of vision and furnishes the audience with information not available to that character.

• Sustain audience interest.
• Create a sense of anticipation for the moment when the character learns what the audience already knows.
• Elicit audience sympathy for a character.

In the example below, the audience sees that a mysterious man has switched the main character’s drink, but the character himself lacks this knowledge.

The term sound design refers to the art of recording, selecting, and combining dialogue, music, and sound effects to craft the audio component of a scene. In analyzing sound design, also pay attention to the adjustment of the volume levels of each sound in relation to the other sounds in a given scene. As with camera-related techniques and editing techniques, think of how the manipulation of sound shapes our perception of space and time, and why or for what reasons this is done with respect to the film’s theme(s).

Music composed to enhance the visual narrative.

• Heighten dramatic impact.
• Guide the audience’s emotional response to the narrative.
• Construct a specific mood or atmosphere.
• Suggest interior states of characters (sadness, fear, confusion, etc.).

Any sound that originates within the story world, including dialogue, music, and noises made by objects.

Just as our real-life hearing is selective (as when we “tune out” nearby conversations, or fixate on a displeasing sound), film sound represents a set of selections. Sounds may be stressed, muted, or gradually amplified or lessened. They can align with a particular point of view, and they can conjure images or elicit particular feelings.

Non-Diegetic

Any sound that has no source within the story world. The most common example is the film score. Non-diegetic sound can encourage particular affective/emotional responses.

Related Concepts

Rhetorical Analysis

Visual Literacy

Film Synopses

Black Fist Detour D.O.A. Dr. Jekyll and Mr. Hyde Jane Eyre Laser Mission Power, Passion, Murder Prisoners of the Lost Universe TNT Jackson Touch of Evil Within Our Gates

Black Fist . Directed by Timothy Galfas, Richard Kaye. L-T Films, 1975. Internet Archiv e, archive.org/details/BlackFist.

Detour . Directed by Edgar G. Ulmer. PRC Pictures, 1945. Internet Archiv e, archive.org/details/Detour.

D.O.A. Directed by Rudolph Maté. United Artists, 1950. Internet Archiv e, archive.org/details/D.o.a.VideoQualityUpgrade.

Dr. Jekyll and Mr. Hyde . Directed by Rouben Mamoulian. Paramount Pictures, 1931. Internet Archiv e, archive.org/details/DRJEKYLLANDMR.HYDE31.

Jane Eyre . Directed by Delbert Mann. Omnibus Productions, 1970. Internet Archiv e, archive.org/details/JaneEyre70.

Laser Mission . Directed by BJ Davis. Turner Home Entertainment, 1989. Internet Archiv e, archive.org/details/LaserMission1989.

Power, Passion, Murder . Directed by Paul Bogart. BCI Eclipse, 1987. Internet Archiv e, archive.org/details/PowerPassion.

Prisoners of the Lost Universe . Directed by Terry Marcel. Marcel/Robertson, 1983. Internet Archiv e, archive.org/details/PrisonersOfTheLostUniverse1983.

TNT Jackson . Directed by Cirio Santiago. Premiere Productions, 1974. Internet Archiv e, archive.org/details/TNTJackson.

Touch of Evil . Directed by Orson Welles. Universal-International, 1958.

Within Our Gates . Directed by Oscar Micheaux. Micheaux Book & Film Company, 1920. Internet Archiv e, archive.org/details/withinOurGates1920.

Brevity - Say More with Less

Clarity (in Speech and Writing)

Coherence - How to Achieve Coherence in Writing

Flow - How to Create Flow in Writing

Inclusivity - Inclusive Language

The Elements of Style - The DNA of Powerful Writing

Suggested Edits

• Please select the purpose of your message. * - Corrections, Typos, or Edits Technical Support/Problems using the site Advertising with Writing Commons Copyright Issues I am contacting you about something else
• Your full name
• Your email address *
• Page URL needing edits *
• Email This field is for validation purposes and should be left unchanged.

Other Topics:

Citation - Definition - Introduction to Citation in Academic & Professional Writing

• Joseph M. Moxley

Explore the different ways to cite sources in academic and professional writing, including in-text (Parenthetical), numerical, and note citations.

Collaboration - What is the Role of Collaboration in Academic & Professional Writing?

Collaboration refers to the act of working with others or AI to solve problems, coauthor texts, and develop products and services. Collaboration is a highly prized workplace competency in academic...

Genre may reference a type of writing, art, or musical composition; socially-agreed upon expectations about how writers and speakers should respond to particular rhetorical situations; the cultural values; the epistemological assumptions...

Grammar refers to the rules that inform how people and discourse communities use language (e.g., written or spoken English, body language, or visual language) to communicate. Learn about the rhetorical...

Information Literacy - Discerning Quality Information from Noise

Information Literacy refers to the competencies associated with locating, evaluating, using, and archiving information. In order to thrive, much less survive in a global information economy — an economy where information functions as a...

Mindset refers to a person or community’s way of feeling, thinking, and acting about a topic. The mindsets you hold, consciously or subconsciously, shape how you feel, think, and act–and...

Rhetoric: Exploring Its Definition and Impact on Modern Communication

Learn about rhetoric and rhetorical practices (e.g., rhetorical analysis, rhetorical reasoning,  rhetorical situation, and rhetorical stance) so that you can strategically manage how you compose and subsequently produce a text...

Style, most simply, refers to how you say something as opposed to what you say. The style of your writing matters because audiences are unlikely to read your work or...

The Writing Process - Research on Composing

The writing process refers to everything you do in order to complete a writing project. Over the last six decades, researchers have studied and theorized about how writers go about...

Writing Studies

Writing studies refers to an interdisciplinary community of scholars and researchers who study writing. Writing studies also refers to an academic, interdisciplinary discipline – a subject of study. Students in...

Featured Articles

Academic Writing – How to Write for the Academic Community

Professional Writing – How to Write for the Professional World

Authority – How to Establish Credibility in Speech & Writing

Rubric: Writing A Movie Review

Description

This rubric outlines specific expectations about writing a movie review assignment.

Grading rubrics can be of great benefit to both you and your students.

For you, a rubric saves time and decreases subjectivity. Specific criteria are explicitly stated, facilitating the grading process and increasing your objectivity.

For students, the use of grading rubrics helps them to meet or exceed expectations, to view the grading process as being “fair,” and to set goals for future learning.

Save Over 50% With My Rubrics Growing Bundle

This resource is also included in my Writing Rubrics Growing Bundle:

Writing Rubrics Grades 6 - 12 Growing Bundle

Looking for other writing rubrics? Try anyone of these:

Rubric: Writing A Book Ending

Rubric: Writing A Book Report

Rubric: Writing A Cover Letter

Rubric: Writing A Journal Entry

Rubric: Writing A Letter

Rubric: Writing A Newspaper Article

Rubric: Writing A Personal Statement

Rubric: Writing A Public Service Announcement

Rubric: Writing A Report

Rubric: Writing A Resume

Rubric: Writing A Short Story

Rubric: Writing A Speech

Rubric: Writing A Summary

Rubric: Writing An Essay

Rubric: Writing An Opinion Article

Rubric: Writing Poetry

Follow Me on Instagram

The Senior School Shop

Follow Me On Pinterest

Jesse Adair

Questions & Answers

• We're hiring
• Help & FAQ
• Privacy policy
• Student privacy
• Terms of service
• Tell us what you think

Make-a-Movie Rubric

Use this simple rubric to assess students’ movies for content, organization, planning, collaboration, and more.  To edit and customize the rubric to fit your needs, select “File,” then “Make a Copy” OR “Download as.”

Most Recent  Printables

• BrainPOP Jr. (K-3)
• BrainPOP ELL
• BrainPOP Science
• BrainPOP Español
• BrainPOP Français
• Set Up Accounts
• Single Sign-on
• Manage Subscription
• Quick Tours
• About BrainPOP

• Terms of Use
• Privacy Policy
• Trademarks & Copyrights

• help_outline help

iRubric: Film review rubric

• At the end of the lesson the students will be able to comprehend a film review.