COMPLETED FILM

DECONSTRUCTION OF 'PRIORITIES' REVIEW

FINAL OF 'PRIORITIES' REVIEW

RESEARCH INTO THE LAYOUT OF FILM REVIEWS

The layout of film reviews consist of images, text and quotes from the film, much like these ones. I focused on using key elements as I knew that when looking at these film reviews they are what stood out to me. Using an image is important as it has to capture a non motion picture which portrays the story, and helps the audience to understand the feel of the film. Whilst researching in these film reviews, I was able to create my own.

FIRST DRAFT OF 'PRIORITIES' REVIEW

‘Priorities’ isn’t necessarily based on a true story; it devotes itself to society today and doesn’t hide away from the truth that all teenagers face. ‘Priorities’ shows the stories that all parents dread when they leave the home left with their young careless teenager. It peaks into the life of teenagers and the effects you’re friends have on you which constantly fires the consequences and truths at its audience. It portrays the scariest truths about trying to impress ‘friends’ who don’t really care and shows the heart pounding guilt and punishment of the young child who makes these mistakes.

While the hangover and Due Date are both set out to entertain the audience, Priorities is recognised for its use of realism. Producers Amber Fallon-O’Sullivan, Katie Dowling and Miriam Husain deliver an emotionally honest portrait of reality today. A piercing glimpse into the unspeakable truths of the youths in society and what kicks they get just to have fun.  Ironically, for a film fuelled by unbroken trust and mistakes that are made, she exhibits a great deal of innocence.  Amber Fallon - O'Sullivan shines a new light on short films and breaks down the barrier of keeping short films at short film festivals as this film deserves to be on the big screen and the back of buses in central London. An outstanding performance from Amy (Rojin Kazemi), a Character who invites us into her life, showing us an insight to the typical teenage issues, whilst uncovering the social pressure and effect it has on a Family bond.

This film is both compelling and captivating and portrays a message to not only teenagers, but everyone. It allows us to ask the questions: Do I fit on? Do I have someone to talk to? Amy is a young much like a lot of people were or are, interested in school at bullied/hated for it. An array of jealous people arrives at her party she throws in order to become known. Instead she is beaten back down to where she’s always been, however this time with a shelf full of consequences and punishments.

‘Don’t worry, we’ll put it on private’ are the words Amy’s mate tell her before the party and are the words Amy wishes she never heard. ‘Priorities’ teaches its audience the worse and the worst things you could do portray your parents and with its amazing cast of actors and reaction it’s received, the Producers – Amber Fallon-O’Sullivan, Mriam Hussain and Katie Dowling efforts have paid off and all have something to be proud of.

(With my first draft of review, and having done my research into film reviews, the layout is now something I need to focus on)

RESEARCH INTO FILM REVIEWS

Whilst researching into film reviews, I learnt the basic codes and conventions of them - what they feature/include.

Codes + Conventions of a film review:

-Film name, year of release, genre and credits (producer, director, actors etc..)

-Quotes/reference

-Brief summary of film

-Summarise review with ratings

-Personal view of film - what they like/what they didn't

-Characters comments

This is a film review I deconstructed:

Review

Director Todd Phillips scored his biggest hit with 2003’s ribald, R-rated romp Old School, a film that proved beyond question — as if we didn’t know it already — that the spectacle of grown men communing with their inner adolescent and behaving like frat boys is a recipe for comedy gold. 

Phillips treads broadly similar ground with The Hangover (written by Lucas and Moore of Four Christmases ‘fame’) but, ironically for a movie that celebrates the male of the species’ innate ability to screw things up and act like a complete idiot, he exhibits a great deal more maturity than he did with its likable but hit-and-miss forebear.

Tell the reader some if it's success and gives an extremely brief outline of the film whilst giving hints about what the film may entail. Referring to characters as 'Male species' may imply that they act foolishly like animals in the duration of this film. 

On the face of it, The Hangover doesn’t look particularly promising, nor, to be honest, terribly original. The ‘bachelor party gone wrong’ is a well-established comedy sub-genre and the prospect of yet another bunch of shit-faced yuppies getting into scrapes with hookers is hardly one to savour. Mercifully, and very astutely, The Hangover avoids the clichés — the majority of them, at least — by starting where most movies of this ilk finish: in the aftermath of the ruinous carousing rather than the preamble to it. In fact, sparing us the gratuitous party scenes is not just good sense but an intrinsic element of the narrative since, thanks to a self-administered mickey that turns out to be roofies rather than E, the central characters have no more idea of what went on the night before than we do.

Following a brief establishing set-up, the action kicks off when a trio of groomsmen (Bradley Cooper, Ed Helms and Zach Galifianakis) wake up in the apocalyptic wreckage of their Las Vegas hotel suite to discover an abandoned baby in the closet, Mike Tyson’s tiger in the bathroom and the inexplicable absence of the groom himself (Justin Bartha), who is due to get hitched in 24 hours’ time. From that point on the film becomes a twisted, and unerringly hilarious, detective story as the hapless ‘worst men’, their memories wiped clean by date-rape drugs, have to piece together the events of the previous evening, track down their missing buddy and get him to the church on time. The trouble is, they have very little evidence to go on save for a missing front tooth, a collection of hospital wristbands and a wedding ring on very much the wrong finger.

Goes into more detail about the films plot, giving the audience a clearer insight to it's most interesting bits. Also gives some name is people who star in the film, which may be on interest to the audience if they are a fan. 

The pacing is furiously fast and the laughs keep coming as our increasingly desperate heroes are assaulted out of the blue by characters and events they have no hope of comprehending. Rarely has that sinking, morning-after realisation that things are much, much worse than they seem been better evoked than when a valet parking attendant rolls up not in Bartha’s future father-in-law’s vintage Merc but a stolen police car. Truthfully, the film abounds with such moments, most of them vastly more raucous. And, true to form, Phillips delivers at least one incident that will have you rubbing your eyes in disbelief, even while you’re laughing your ass off. As for bizzaro celebrity cameos, they don’t come much more off-the-wall than Mike Tyson singing along to Phil Collins’ In The Air Tonight and smashing Galifianakis full in the face at the climax of the iconic drum fill.

Tells how audiences have reacted to the film, an over view of the review. Gives an insight to the shocks and unexpected elements of the movie, cleverly worded to make the audience read on.

What really gives The Hangover wings, though, rendering it every bit as endearing as it is profanely funny, is the chemistry between the leads — Cooper as the group’s cocksure alpha male; Helms as the neurotic whiner, and Galifianakis, in a star-making turn, as the token beardy weirdy. Their guy-centric sparring is so effortless, a direct product of their characters and the relationship between them, it seems almost inconceivable that it originated in a script. Of course it did, and full credit to Jon Lucas and Scott Moore (with input from Phillips) for that — no matter how crammed full of side-splitting set-pieces a movie is, if the characters aren’t convincing or likable you’ve got nothing. In The Hangover they are both, and the film benefits on that score from them being relatively unknown. A state of affairs that, on this evidence, is not likely to last.

The reviewer speak positively about the film, selling the film to it's audience - making them want to see the film.

Verdict

A furiously paced, inventive and flat-out hilarious take on a tried-and-tested formula. An exemplary bromantic comedy that doesn’t sacrifice heart in pursuit of laughs, maintaining plenty of the former and a superabundance of the latter.

A summary of phrases which spring to mind when watching the film, and what the film is similar too.

DECONSTRUCTION OF 'PRIORITIES' POSTER