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Blog – Posted on Friday, Mar 29

17 book review examples to help you write the perfect review.

It’s an exciting time to be a book reviewer. Once confined to print newspapers and journals, reviews now dot many corridors of the Internet — forever helping others discover their next great read. That said, every book reviewer will face a familiar panic: how can you do justice to a great book in just a thousand words?

As you know, the best way to learn how to do something is by immersing yourself in it. Luckily, the Internet (i.e. Goodreads and other review sites , in particular) has made book reviews more accessible than ever — which means that there are a lot of book reviews examples out there for you to view!

In this post, we compiled 17 prototypical book review examples in multiple genres to help you figure out how to write the perfect review . If you want to jump straight to the examples, you can skip the next section. Otherwise, let’s first check out what makes up a good review.

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What must a book review contain?

Like all works of art, no two book reviews will be identical. But fear not: there are a few guidelines for any aspiring book reviewer to follow. Most book reviews, for instance, are less than 1,500 words long, with the sweet spot hitting somewhere around the 1,000-word mark. (However, this may vary depending on the platform on which you’re writing, as we’ll see later.)

In addition, all reviews share some universal elements, as shown in our book review templates . These include:

• A review will offer a concise plot summary of the book. 
• A book review will offer an evaluation of the work. 
• A book review will offer a recommendation for the audience. 

If these are the basic ingredients that make up a book review, it’s the tone and style with which the book reviewer writes that brings the extra panache. This will differ from platform to platform, of course. A book review on Goodreads, for instance, will be much more informal and personal than a book review on Kirkus Reviews, as it is catering to a different audience. However, at the end of the day, the goal of all book reviews is to give the audience the tools to determine whether or not they’d like to read the book themselves.

Keeping that in mind, let’s proceed to some book review examples to put all of this in action.

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Book review examples for fiction books

Since story is king in the world of fiction, it probably won’t come as any surprise to learn that a book review for a novel will concentrate on how well the story was told .

That said, book reviews in all genres follow the same basic formula that we discussed earlier. In these examples, you’ll be able to see how book reviewers on different platforms expertly intertwine the plot summary and their personal opinions of the book to produce a clear, informative, and concise review.

Note: Some of the book review examples run very long. If a book review is truncated in this post, we’ve indicated by including a […] at the end, but you can always read the entire review if you click on the link provided.

Examples of literary fiction book reviews

Kirkus Reviews reviews Ralph Ellison’s The Invisible Man :

An extremely powerful story of a young Southern Negro, from his late high school days through three years of college to his life in Harlem.

His early training prepared him for a life of humility before white men, but through injustices- large and small, he came to realize that he was an "invisible man". People saw in him only a reflection of their preconceived ideas of what he was, denied his individuality, and ultimately did not see him at all. This theme, which has implications far beyond the obvious racial parallel, is skillfully handled. The incidents of the story are wholly absorbing. The boy's dismissal from college because of an innocent mistake, his shocked reaction to the anonymity of the North and to Harlem, his nightmare experiences on a one-day job in a paint factory and in the hospital, his lightning success as the Harlem leader of a communistic organization known as the Brotherhood, his involvement in black versus white and black versus black clashes and his disillusion and understanding of his invisibility- all climax naturally in scenes of violence and riot, followed by a retreat which is both literal and figurative. Parts of this experience may have been told before, but never with such freshness, intensity and power.

This is Ellison's first novel, but he has complete control of his story and his style. Watch it.

Lyndsey reviews George Orwell’s 1984 on Goodreads:

YOU. ARE. THE. DEAD. Oh my God. I got the chills so many times toward the end of this book. It completely blew my mind. It managed to surpass my high expectations AND be nothing at all like I expected. Or in Newspeak "Double Plus Good." Let me preface this with an apology. If I sound stunningly inarticulate at times in this review, I can't help it. My mind is completely fried.

This book is like the dystopian Lord of the Rings, with its richly developed culture and economics, not to mention a fully developed language called Newspeak, or rather more of the anti-language, whose purpose is to limit speech and understanding instead of to enhance and expand it. The world-building is so fully fleshed out and spine-tinglingly terrifying that it's almost as if George travelled to such a place, escaped from it, and then just wrote it all down.

I read Fahrenheit 451 over ten years ago in my early teens. At the time, I remember really wanting to read 1984, although I never managed to get my hands on it. I'm almost glad I didn't. Though I would not have admitted it at the time, it would have gone over my head. Or at the very least, I wouldn't have been able to appreciate it fully. […]

The New York Times reviews Lisa Halliday’s Asymmetry :

Three-quarters of the way through Lisa Halliday’s debut novel, “Asymmetry,” a British foreign correspondent named Alistair is spending Christmas on a compound outside of Baghdad. His fellow revelers include cameramen, defense contractors, United Nations employees and aid workers. Someone’s mother has FedExed a HoneyBaked ham from Maine; people are smoking by the swimming pool. It is 2003, just days after Saddam Hussein’s capture, and though the mood is optimistic, Alistair is worrying aloud about the ethics of his chosen profession, wondering if reporting on violence doesn’t indirectly abet violence and questioning why he’d rather be in a combat zone than reading a picture book to his son. But every time he returns to London, he begins to “spin out.” He can’t go home. “You observe what people do with their freedom — what they don’t do — and it’s impossible not to judge them for it,” he says.

The line, embedded unceremoniously in the middle of a page-long paragraph, doubles, like so many others in “Asymmetry,” as literary criticism. Halliday’s novel is so strange and startlingly smart that its mere existence seems like commentary on the state of fiction. One finishes “Asymmetry” for the first or second (or like this reader, third) time and is left wondering what other writers are not doing with their freedom — and, like Alistair, judging them for it.

Despite its title, “Asymmetry” comprises two seemingly unrelated sections of equal length, appended by a slim and quietly shocking coda. Halliday’s prose is clean and lean, almost reportorial in the style of W. G. Sebald, and like the murmurings of a shy person at a cocktail party, often comic only in single clauses. It’s a first novel that reads like the work of an author who has published many books over many years. […]

Emily W. Thompson reviews Michael Doane's The Crossing on Reedsy Discovery :

In Doane’s debut novel, a young man embarks on a journey of self-discovery with surprising results.

An unnamed protagonist (The Narrator) is dealing with heartbreak. His love, determined to see the world, sets out for Portland, Oregon. But he’s a small-town boy who hasn’t traveled much. So, the Narrator mourns her loss and hides from life, throwing himself into rehabbing an old motorcycle. Until one day, he takes a leap; he packs his bike and a few belongings and heads out to find the Girl.

Following in the footsteps of Jack Kerouac and William Least Heat-Moon, Doane offers a coming of age story about a man finding himself on the backroads of America. Doane’s a gifted writer with fluid prose and insightful observations, using The Narrator’s personal interactions to illuminate the diversity of the United States.

The Narrator initially sticks to the highways, trying to make it to the West Coast as quickly as possible. But a hitchhiker named Duke convinces him to get off the beaten path and enjoy the ride. “There’s not a place that’s like any other,” [39] Dukes contends, and The Narrator realizes he’s right. Suddenly, the trip is about the journey, not just the destination. The Narrator ditches his truck and traverses the deserts and mountains on his bike. He destroys his phone, cutting off ties with his past and living only in the moment.

As he crosses the country, The Narrator connects with several unique personalities whose experiences and views deeply impact his own. Duke, the complicated cowboy and drifter, who opens The Narrator’s eyes to a larger world. Zooey, the waitress in Colorado who opens his heart and reminds him that love can be found in this big world. And Rosie, The Narrator’s sweet landlady in Portland, who helps piece him back together both physically and emotionally.

This supporting cast of characters is excellent. Duke, in particular, is wonderfully nuanced and complicated. He’s a throwback to another time, a man without a cell phone who reads Sartre and sleeps under the stars. Yet he’s also a grifter with a “love ‘em and leave ‘em” attitude that harms those around him. It’s fascinating to watch The Narrator wrestle with Duke’s behavior, trying to determine which to model and which to discard.

Doane creates a relatable protagonist in The Narrator, whose personal growth doesn’t erase his faults. His willingness to hit the road with few resources is admirable, and he’s prescient enough to recognize the jealousy of those who cannot or will not take the leap. His encounters with new foods, places, and people broaden his horizons. Yet his immaturity and selfishness persist. He tells Rosie she’s been a good mother to him but chooses to ignore the continuing concern from his own parents as he effectively disappears from his old life.

Despite his flaws, it’s a pleasure to accompany The Narrator on his physical and emotional journey. The unexpected ending is a fitting denouement to an epic and memorable road trip.

The Book Smugglers review Anissa Gray’s The Care and Feeding of Ravenously Hungry Girls :

I am still dipping my toes into the literally fiction pool, finding what works for me and what doesn’t. Books like The Care and Feeding of Ravenously Hungry Girls by Anissa Gray are definitely my cup of tea.

Althea and Proctor Cochran had been pillars of their economically disadvantaged community for years – with their local restaurant/small market and their charity drives. Until they are found guilty of fraud for stealing and keeping most of the money they raised and sent to jail. Now disgraced, their entire family is suffering the consequences, specially their twin teenage daughters Baby Vi and Kim.  To complicate matters even more: Kim was actually the one to call the police on her parents after yet another fight with her mother. […]

Examples of children’s and YA fiction book reviews

The Book Hookup reviews Angie Thomas’ The Hate U Give :

♥ Quick Thoughts and Rating: 5 stars! I can’t imagine how challenging it would be to tackle the voice of a movement like Black Lives Matter, but I do know that Thomas did it with a finesse only a talented author like herself possibly could. With an unapologetically realistic delivery packed with emotion, The Hate U Give is a crucially important portrayal of the difficulties minorities face in our country every single day. I have no doubt that this book will be met with resistance by some (possibly many) and slapped with a “controversial” label, but if you’ve ever wondered what it was like to walk in a POC’s shoes, then I feel like this is an unflinchingly honest place to start.

In Angie Thomas’s debut novel, Starr Carter bursts on to the YA scene with both heart-wrecking and heartwarming sincerity. This author is definitely one to watch.

♥ Review: The hype around this book has been unquestionable and, admittedly, that made me both eager to get my hands on it and terrified to read it. I mean, what if I was to be the one person that didn’t love it as much as others? (That seems silly now because of how truly mesmerizing THUG was in the most heartbreakingly realistic way.) However, with the relevancy of its summary in regards to the unjust predicaments POC currently face in the US, I knew this one was a must-read, so I was ready to set my fears aside and dive in. That said, I had an altogether more personal, ulterior motive for wanting to read this book. […]

The New York Times reviews Melissa Albert’s The Hazel Wood :

Alice Crewe (a last name she’s chosen for herself) is a fairy tale legacy: the granddaughter of Althea Proserpine, author of a collection of dark-as-night fairy tales called “Tales From the Hinterland.” The book has a cult following, and though Alice has never met her grandmother, she’s learned a little about her through internet research. She hasn’t read the stories, because her mother, Ella Proserpine, forbids it.

Alice and Ella have moved from place to place in an attempt to avoid the “bad luck” that seems to follow them. Weird things have happened. As a child, Alice was kidnapped by a man who took her on a road trip to find her grandmother; he was stopped by the police before they did so. When at 17 she sees that man again, unchanged despite the years, Alice panics. Then Ella goes missing, and Alice turns to Ellery Finch, a schoolmate who’s an Althea Proserpine superfan, for help in tracking down her mother. Not only has Finch read every fairy tale in the collection, but handily, he remembers them, sharing them with Alice as they journey to the mysterious Hazel Wood, the estate of her now-dead grandmother, where they hope to find Ella.

“The Hazel Wood” starts out strange and gets stranger, in the best way possible. (The fairy stories Finch relays, which Albert includes as their own chapters, are as creepy and evocative as you’d hope.) Albert seamlessly combines contemporary realism with fantasy, blurring the edges in a way that highlights that place where stories and real life convene, where magic contains truth and the world as it appears is false, where just about anything can happen, particularly in the pages of a very good book. It’s a captivating debut. […]

James reviews Margaret Wise Brown’s Goodnight, Moon on Goodreads:

Goodnight Moon by Margaret Wise Brown is one of the books that followers of my blog voted as a must-read for our Children's Book August 2018 Readathon. Come check it out and join the next few weeks!

This picture book was such a delight. I hadn't remembered reading it when I was a child, but it might have been read to me... either way, it was like a whole new experience! It's always so difficult to convince a child to fall asleep at night. I don't have kids, but I do have a 5-month-old puppy who whines for 5 minutes every night when he goes in his cage/crate (hopefully he'll be fully housebroken soon so he can roam around when he wants). I can only imagine! I babysat a lot as a teenager and I have tons of younger cousins, nieces, and nephews, so I've been through it before, too. This was a believable experience, and it really helps show kids how to relax and just let go when it's time to sleep.

The bunny's are adorable. The rhymes are exquisite. I found it pretty fun, but possibly a little dated given many of those things aren't normal routines anymore. But the lessons to take from it are still powerful. Loved it! I want to sample some more books by this fine author and her illustrators.

Publishers Weekly reviews Elizabeth Lilly’s Geraldine :

This funny, thoroughly accomplished debut opens with two words: “I’m moving.” They’re spoken by the title character while she swoons across her family’s ottoman, and because Geraldine is a giraffe, her full-on melancholy mode is quite a spectacle. But while Geraldine may be a drama queen (even her mother says so), it won’t take readers long to warm up to her. The move takes Geraldine from Giraffe City, where everyone is like her, to a new school, where everyone else is human. Suddenly, the former extrovert becomes “That Giraffe Girl,” and all she wants to do is hide, which is pretty much impossible. “Even my voice tries to hide,” she says, in the book’s most poignant moment. “It’s gotten quiet and whispery.” Then she meets Cassie, who, though human, is also an outlier (“I’m that girl who wears glasses and likes MATH and always organizes her food”), and things begin to look up.

Lilly’s watercolor-and-ink drawings are as vividly comic and emotionally astute as her writing; just when readers think there are no more ways for Geraldine to contort her long neck, this highly promising talent comes up with something new.

Examples of genre fiction book reviews

Karlyn P reviews Nora Roberts’ Dark Witch , a paranormal romance novel , on Goodreads:

4 stars. Great world-building, weak romance, but still worth the read.

I hesitate to describe this book as a 'romance' novel simply because the book spent little time actually exploring the romance between Iona and Boyle. Sure, there IS a romance in this novel. Sprinkled throughout the book are a few scenes where Iona and Boyle meet, chat, wink at each, flirt some more, sleep together, have a misunderstanding, make up, and then profess their undying love. Very formulaic stuff, and all woven around the more important parts of this book.

The meat of this book is far more focused on the story of the Dark witch and her magically-gifted descendants living in Ireland. Despite being weak on the romance, I really enjoyed it. I think the book is probably better for it, because the romance itself was pretty lackluster stuff.

I absolutely plan to stick with this series as I enjoyed the world building, loved the Ireland setting, and was intrigued by all of the secondary characters. However, If you read Nora Roberts strictly for the romance scenes, this one might disappoint. But if you enjoy a solid background story with some dark magic and prophesies, you might enjoy it as much as I did.

I listened to this one on audio, and felt the narration was excellent.

Emily May reviews R.F. Kuang’s The Poppy Wars , an epic fantasy novel , on Goodreads:

“But I warn you, little warrior. The price of power is pain.”

Holy hell, what did I just read??

➽ A fantasy military school

➽ A rich world based on modern Chinese history

➽ Shamans and gods

➽ Detailed characterization leading to unforgettable characters

➽ Adorable, opium-smoking mentors

That's a basic list, but this book is all of that and SO MUCH MORE. I know 100% that The Poppy War will be one of my best reads of 2018.

Isn't it just so great when you find one of those books that completely drags you in, makes you fall in love with the characters, and demands that you sit on the edge of your seat for every horrific, nail-biting moment of it? This is one of those books for me. And I must issue a serious content warning: this book explores some very dark themes. Proceed with caution (or not at all) if you are particularly sensitive to scenes of war, drug use and addiction, genocide, racism, sexism, ableism, self-harm, torture, and rape (off-page but extremely horrific).

Because, despite the fairly innocuous first 200 pages, the title speaks the truth: this is a book about war. All of its horrors and atrocities. It is not sugar-coated, and it is often graphic. The "poppy" aspect refers to opium, which is a big part of this book. It is a fantasy, but the book draws inspiration from the Second Sino-Japanese War and the Rape of Nanking.

Crime Fiction Lover reviews Jessica Barry’s Freefall , a crime novel:

In some crime novels, the wrongdoing hits you between the eyes from page one. With others it’s a more subtle process, and that’s OK too. So where does Freefall fit into the sliding scale?

In truth, it’s not clear. This is a novel with a thrilling concept at its core. A woman survives plane crash, then runs for her life. However, it is the subtleties at play that will draw you in like a spider beckoning to an unwitting fly.

Like the heroine in Sharon Bolton’s Dead Woman Walking, Allison is lucky to be alive. She was the only passenger in a private plane, belonging to her fiancé, Ben, who was piloting the expensive aircraft, when it came down in woodlands in the Colorado Rockies. Ally is also the only survivor, but rather than sitting back and waiting for rescue, she is soon pulling together items that may help her survive a little longer – first aid kit, energy bars, warm clothes, trainers – before fleeing the scene. If you’re hearing the faint sound of alarm bells ringing, get used to it. There’s much, much more to learn about Ally before this tale is over.

Kirkus Reviews reviews Ernest Cline’s Ready Player One , a science-fiction novel :

Video-game players embrace the quest of a lifetime in a virtual world; screenwriter Cline’s first novel is old wine in new bottles.

The real world, in 2045, is the usual dystopian horror story. So who can blame Wade, our narrator, if he spends most of his time in a virtual world? The 18-year-old, orphaned at 11, has no friends in his vertical trailer park in Oklahoma City, while the OASIS has captivating bells and whistles, and it’s free. Its creator, the legendary billionaire James Halliday, left a curious will. He had devised an elaborate online game, a hunt for a hidden Easter egg. The finder would inherit his estate. Old-fashioned riddles lead to three keys and three gates. Wade, or rather his avatar Parzival, is the first gunter (egg-hunter) to win the Copper Key, first of three.

Halliday was obsessed with the pop culture of the 1980s, primarily the arcade games, so the novel is as much retro as futurist. Parzival’s great strength is that he has absorbed all Halliday’s obsessions; he knows by heart three essential movies, crossing the line from geek to freak. His most formidable competitors are the Sixers, contract gunters working for the evil conglomerate IOI, whose goal is to acquire the OASIS. Cline’s narrative is straightforward but loaded with exposition. It takes a while to reach a scene that crackles with excitement: the meeting between Parzival (now world famous as the lead contender) and Sorrento, the head of IOI. The latter tries to recruit Parzival; when he fails, he issues and executes a death threat. Wade’s trailer is demolished, his relatives killed; luckily Wade was not at home. Too bad this is the dramatic high point. Parzival threads his way between more ’80s games and movies to gain the other keys; it’s clever but not exciting. Even a romance with another avatar and the ultimate “epic throwdown” fail to stir the blood.

Too much puzzle-solving, not enough suspense.

Book review examples for non-fiction books

Nonfiction books are generally written to inform readers about a certain topic. As such, the focus of a nonfiction book review will be on the clarity and effectiveness of this communication . In carrying this out, a book review may analyze the author’s source materials and assess the thesis in order to determine whether or not the book meets expectations.

Again, we’ve included abbreviated versions of long reviews here, so feel free to click on the link to read the entire piece!

The Washington Post reviews David Grann’s Killers of the Flower Moon :

The arc of David Grann’s career reminds one of a software whiz-kid or a latest-thing talk-show host — certainly not an investigative reporter, even if he is one of the best in the business. The newly released movie of his first book, “The Lost City of Z,” is generating all kinds of Oscar talk, and now comes the release of his second book, “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film rights to which have already been sold for $5 million in what one industry journal called the “biggest and wildest book rights auction in memory.”

Grann deserves the attention. He’s canny about the stories he chases, he’s willing to go anywhere to chase them, and he’s a maestro in his ability to parcel out information at just the right clip: a hint here, a shading of meaning there, a smartly paced buildup of multiple possibilities followed by an inevitable reversal of readerly expectations or, in some cases, by a thrilling and dislocating pull of the entire narrative rug.

All of these strengths are on display in “Killers of the Flower Moon.” Around the turn of the 20th century, oil was discovered underneath Osage lands in the Oklahoma Territory, lands that were soon to become part of the state of Oklahoma. Through foresight and legal maneuvering, the Osage found a way to permanently attach that oil to themselves and shield it from the prying hands of white interlopers; this mechanism was known as “headrights,” which forbade the outright sale of oil rights and granted each full member of the tribe — and, supposedly, no one else — a share in the proceeds from any lease arrangement. For a while, the fail-safes did their job, and the Osage got rich — diamond-ring and chauffeured-car and imported-French-fashion rich — following which quite a large group of white men started to work like devils to separate the Osage from their money. And soon enough, and predictably enough, this work involved murder. Here in Jazz Age America’s most isolated of locales, dozens or even hundreds of Osage in possession of great fortunes — and of the potential for even greater fortunes in the future — were dispatched by poison, by gunshot and by dynamite. […]

Stacked Books reviews Malcolm Gladwell’s Outliers :

I’ve heard a lot of great things about Malcolm Gladwell’s writing. Friends and co-workers tell me that his subjects are interesting and his writing style is easy to follow without talking down to the reader. I wasn’t disappointed with Outliers. In it, Gladwell tackles the subject of success – how people obtain it and what contributes to extraordinary success as opposed to everyday success.

The thesis – that our success depends much more on circumstances out of our control than any effort we put forth – isn’t exactly revolutionary. Most of us know it to be true. However, I don’t think I’m lying when I say that most of us also believe that we if we just try that much harder and develop our talent that much further, it will be enough to become wildly successful, despite bad or just mediocre beginnings. Not so, says Gladwell.

Most of the evidence Gladwell gives us is anecdotal, which is my favorite kind to read. I can’t really speak to how scientifically valid it is, but it sure makes for engrossing listening. For example, did you know that successful hockey players are almost all born in January, February, or March? Kids born during these months are older than the others kids when they start playing in the youth leagues, which means they’re already better at the game (because they’re bigger). Thus, they get more play time, which means their skill increases at a faster rate, and it compounds as time goes by. Within a few years, they’re much, much better than the kids born just a few months later in the year. Basically, these kids’ birthdates are a huge factor in their success as adults – and it’s nothing they can do anything about. If anyone could make hockey interesting to a Texan who only grudgingly admits the sport even exists, it’s Gladwell. […]

Quill and Quire reviews Rick Prashaw’s Soar, Adam, Soar :

Ten years ago, I read a book called Almost Perfect. The young-adult novel by Brian Katcher won some awards and was held up as a powerful, nuanced portrayal of a young trans person. But the reality did not live up to the book’s billing. Instead, it turned out to be a one-dimensional and highly fetishized portrait of a trans person’s life, one that was nevertheless repeatedly dubbed “realistic” and “affecting” by non-transgender readers possessing only a vague, mass-market understanding of trans experiences.

In the intervening decade, trans narratives have emerged further into the literary spotlight, but those authored by trans people ourselves – and by trans men in particular – have seemed to fall under the shadow of cisgender sensationalized imaginings. Two current Canadian releases – Soar, Adam, Soar and This One Looks Like a Boy – provide a pointed object lesson into why trans-authored work about transgender experiences remains critical.

To be fair, Soar, Adam, Soar isn’t just a story about a trans man. It’s also a story about epilepsy, the medical establishment, and coming of age as seen through a grieving father’s eyes. Adam, Prashaw’s trans son, died unexpectedly at age 22. Woven through the elder Prashaw’s narrative are excerpts from Adam’s social media posts, giving us glimpses into the young man’s interior life as he traverses his late teens and early 20s. […]

Book Geeks reviews Elizabeth Gilbert’s Eat, Pray, Love :

WRITING STYLE: 3.5/5

SUBJECT: 4/5

CANDIDNESS: 4.5/5

RELEVANCE: 3.5/5

ENTERTAINMENT QUOTIENT: 3.5/5

“Eat Pray Love” is so popular that it is almost impossible to not read it. Having felt ashamed many times on my not having read this book, I quietly ordered the book (before I saw the movie) from amazon.in and sat down to read it. I don’t remember what I expected it to be – maybe more like a chick lit thing but it turned out quite different. The book is a real story and is a short journal from the time when its writer went travelling to three different countries in pursuit of three different things – Italy (Pleasure), India (Spirituality), Bali (Balance) and this is what corresponds to the book’s name – EAT (in Italy), PRAY (in India) and LOVE (in Bali, Indonesia). These are also the three Is – ITALY, INDIA, INDONESIA.

Though she had everything a middle-aged American woman can aspire for – MONEY, CAREER, FRIENDS, HUSBAND; Elizabeth was not happy in her life, she wasn’t happy in her marriage. Having suffered a terrible divorce and terrible breakup soon after, Elizabeth was shattered. She didn’t know where to go and what to do – all she knew was that she wanted to run away. So she set out on a weird adventure – she will go to three countries in a year and see if she can find out what she was looking for in life. This book is about that life changing journey that she takes for one whole year. […]

Emily May reviews Michelle Obama’s Becoming on Goodreads:

Look, I'm not a happy crier. I might cry at songs about leaving and missing someone; I might cry at books where things don't work out; I might cry at movies where someone dies. I've just never really understood why people get all choked up over happy, inspirational things. But Michelle Obama's kindness and empathy changed that. This book had me in tears for all the right reasons.

This is not really a book about politics, though political experiences obviously do come into it. It's a shame that some will dismiss this book because of a difference in political opinion, when it is really about a woman's life. About growing up poor and black on the South Side of Chicago; about getting married and struggling to maintain that marriage; about motherhood; about being thrown into an amazing and terrifying position.

I hate words like "inspirational" because they've become so overdone and cheesy, but I just have to say it-- Michelle Obama is an inspiration. I had the privilege of seeing her speak at The Forum in Inglewood, and she is one of the warmest, funniest, smartest, down-to-earth people I have ever seen in this world.

And yes, I know we present what we want the world to see, but I truly do think it's genuine. I think she is someone who really cares about people - especially kids - and wants to give them better lives and opportunities.

She's obviously intelligent, but she also doesn't gussy up her words. She talks straight, with an openness and honesty rarely seen. She's been one of the most powerful women in the world, she's been a graduate of Princeton and Harvard Law School, she's had her own successful career, and yet she has remained throughout that same girl - Michelle Robinson - from a working class family in Chicago.

I don't think there's anyone who wouldn't benefit from reading this book.

Hopefully, this post has given you a better idea of how to write a book review. You might be wondering how to put all of this knowledge into action now! Many book reviewers start out by setting up a book blog. If you don’t have time to research the intricacies of HTML, check out Reedsy Discovery — where you can read indie books for free and review them without going through the hassle of creating a blog. To register as a book reviewer , go here .

And if you’d like to see even more book review examples, simply go to this directory of book review blogs and click on any one of them to see a wealth of good book reviews. Beyond that, it's up to you to pick up a book and pen — and start reviewing!

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Essential Film Criticism Books for Any Film Lover’s Shelf

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No cinephile’s bookshelf is complete without a well-curated selection of film criticism books to complement their robust movie library. After all, criticism exists to enhance our understanding of art, and really any creative endeavor. The art of film criticism is almost as old as film itself, and has evolved just as film has over the past century or so.

The below selection of film criticism classics includes a wide variety of literature that helps enhance the filmgoing experience, from in-depth histories of specific films to exhaustive analysis of filmmakers and actors; from essay collections of famed critics to histories of film movements and eras. They’re both historical and contemporary, with original release dates spanning nearly eight decades. These books aren’t only covering classics, either — sometimes the zero-star reviews about notorious flops are just as illuminating as thoughtful takes on some of film’s most revered movies.

See our selection of best film criticism books below.

“The Age of Movies: Selected Writings of Pauline Kael : A Library of America Special Publication”

There have been many collections of Pauline Kael’s work, but a great deal of them — “For Keeps” and “I Lost it at the Movies” included — are hard to find or out of print. This 2016 collection features the sharply opinionated New Yorker critic’s takes on “The Godfather,” “Bonnie and Clyde,” “Last Tango in Paris,” and more seminal works, and spans her entire career.

“Negative Space: Manny Farber On The Movies”

Another seminal and divisive critic with a very distinct style of prose, Farber, an accomplished painter, deconstructs films and scenes with a unique eye. His definition of “termite art,” as opposed to “white elephant art,” opened up a whole new discourse around appreciating the aesthetic greatness of B movies and genre films that don’t necessarily telegraph their artistic intent with the literalism and obviousness of “prestige” efforts. This collection comes with seven essays he wrote with his wife, the artist Patricia Patterson, along with an in-depth interview.

“Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth” by A.O. Scott

Longtime “New York Times” film critic Scott examines the discipline of criticism as a whole, using his own work as a lens to demonstrate how criticism allows creativity to thrive. This particular volume was inspired by the author’s own Twitter feud with Samuel L. Jackson, following Scott’s pan of “The Avengers.” Everyone’s a critic, because critical thinking informs all aspects of life, from art to politics and everything in between.

“Leonard Maltin’s Movie Guide: The Modern Era”

Maltin stopped updating his annual movie guides a few years ago, but the 2015 edition serves as a capstone of sorts and includes nearly 16,000 entries of essential information on films from the modern era — box office record-breakers, cult classics, and complete bombs alike.

“I Hated, Hated, HATED This Movie” by Roger Ebert

Yes, you should definitely add any volume from Ebert’s “The Great Movies” collection to your bookshelf. But just as important as the Pulitzer Prize-winning critic’s raves are the scathing takedowns that, in many cases, are even more fun than the movies themselves. This is the first best-selling collection of Ebert’s one-star (or less) reviews, followed by the equally entertaining “Your Movie Sucks” and “A Horrible Experience of Unbearable Length: More Movies That Suck.”

“Murder and the Movies” by David Thomson

In his latest volume, film historian Thomson investigates film’s obsession with murder and what that says about us as viewers through the lens of classics including “Strangers on a Train,” “The Godfather,” and “The Shining.” (Also shelf-worthy: The most recent update of his comprehensive “The Biographical Dictionary of Film.” )

“Seduction: Sex, Lies, and Stardom in Howard Hughes’s Hollywood” by Karina Longworth

The creator of the essential film podcast “You Must Remember This” reminds readers that the film industry’s obsession with sex and power predates the #MeToo movement. Before Harvey Weinstein there was Howard Hughes, and “Seduction” shows how Hughes’ wielded his power via the stories of ten women who had relationships with the mogul.

“Hollywood Black” by Donald Bogle

Bogle’s overview of Black filmmaking, from the silent era through “Black Panther,” tells the history of Black Hollywood, including its films, stars, and filmmakers, and includes a foreword by the late John Singleton.

“From Reverence to Rape: The Treatment of Women in the Movies, Third Edition” by Molly Haskell

Originally published in 1974, the latest update to Haskell’s classic piece of feminist film criticism was released in 2016. It includes an insightful investigation into the way women are portrayed on screen versus their status in society, plus a new introduction about how Haskell’s views have evolved since its initial publication.

“What is Cinema?” by André Bazin

This foundational text of film studies comes from one of film criticism’s most influential voices, the French critic Bazin, who championed filmmakers such as Jean Renoir, Orson Welles, and Roberto Rossellini.

“From Caligari to Hitler: A Psychological History of the German Film” by Siegfried Kracauer

This defining history of German expressionist film, first published in 1947, examines how the Weimar Republic produced such politically charged work as “The Cabinet of Dr. Caligari,” “M,” “Metropolis,” and “The Blue Angel.”

“Pictures at a Revolution” by Mark Harris

Harris focuses on the best picture nominees at the 1967 Academy Awards — “Guess Who’s Coming to Dinner,” “The Graduate,” “In the Heat of the Night,” “Doctor Doolittle,” and “Bonnie and Clyde” — to show how the cultural revolution of the 1960s changed Hollywood forever.

“Made Men: The Story of Goodfellas” by Glenn Kenny

Kenny’s history of Scorsese’s classic mob movie arrives on Sept. 15, just in time for the 30th anniversary of Martin Scorsese’s seminal 1990 film. This behind-the-scenes story features interviews from Scorsese and star Robert De Niro and sheds light on why the film’s legacy has endured over the past three decades.

“Make My Day: Movie Culture in the Age of Reagan” by J. Hoberman

“Make My Day” chronicles the relationship between politics and cinema in Reagan’s 1980s, and is the third volume in Hoberman’s trilogy (after “The Dream Life,” about the 1960s, and “An Army of Phantoms,” about American movies in the first decade of the Cold War).

“Tom Cruise: Anatomy of an Actor” by Amy Nicholson

Nicholson investigates the career of the all-American superstar, from his first role (in Francis Ford Coppola’s “The Outsiders”), his rise to super-stardom in the ’80s (in “Top Gun” and beyond), and his enduring status as modern-day action hero (in the “Mission Impossible” series).

“David Lynch: The Man from Another Place” by Dennis Lim

Lim digs into the career of the director not by trying to de-mystify his mysterious mind, but by embracing the strangeness of the multi-hyphenate artist.

“Movies That Mattered: More Reviews from a Transformative Decade” by Dave Kehr

Film critic Dave Kehr’s work is compiled in this second volume of criticism, compiled from his time at the Chicago Reader and Chicago magazine between 1974 and 1986, which features some of the in-depth, nuanced essays for which Kehr is known.

Returning the Gaze: A Genealogy of Black Film Criticism, 1909-1949 by Anna Everett

“Returning the Gaze” is an exploration of Black film criticism, from the first half of 20th   century. The book shares film commentary through the writings of W.E.B. DuBois, Langston Hughes, and Zora Neale Hurston, in addition to pieces written during the Great Depression, and the pre-and-post-war era. The book looks at how Black media pushed back against racist themes in film, and called attention to the use of lynching footage as examples of both a commercial, and callous, act of exploitation.

Regarding Film Criticism and Commentary by Stanley Kauffman

Released in 1993, this collection of writings from late critic Stanley Kauffman includes films from major established directors, musings on cinematic adaptations of Mozart’s operas, and independent cinema, in addition to exploring changing public attitudes towards film as an art form.

Ambiguity and Film Criticism: Reasonable Doubt by Hoi Lun Law

As the title suggests, Hoi Lun Law’s book makes a case for ambiguity on film and why it’s a vital concept to cinema. Broken into two parts, the book features seven chapters that include: “Difficulty of Reading, “Depth of Suggestion, “and “Threat of Insignificance.”

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How to Write a Movie Review: 10 Essential Tips

As long as there have been films, there have been film critics. Starting with the early days of cinema, where reviews appeared in newspapers and magazines as brief, descriptive pieces, as filmmaking evolved as an art form, so did the role of the critic. James Agee, André Bazin, and Pauline Kael shaped the discourse around cinema, and today, famous film critics like the iconic Roger Ebert , The New York Times’s A.O. Scott , and The New York Times’s Manohla Dargis continue to leave an indelible mark on the world of cinema.

With the rise of the internet, film criticism now encompasses a wide range of voices and perspectives from around the globe. Sites like Letterboxd make it possible for anyone to write short-form reviews on film. Even stars like The Bear’s Ayo Edebiri have accounts and share opinions on the latest box-office hits.

How to Write a Movie Review

Today, contemporary YouTube and TikTok critics such as Red Letter Media , deepfocuslens , and DoMo Draper don’t just write film reviews, they shoot videos and skits. Through their creative formats, they offer refreshing and unique perspectives while building communities of diehard film and television enthusiasts. Whether you choose to write reviews for your own blog, other websites, or social media channels, by learning how to write a movie review, any aspiring filmmaker can start to watch films intentionally. 

@domodraperr Replying to @xsindeviltriggerx I’ll get right on that, Sir!🫡 #comments #movies #film #satire #fyp #mulan #disney ♬ I’ll Make a Man Out of You (feat. Black Gryph0n) – Cover – Samuel Kim

TikTok film critic “DoMo Draper” provides commentary on new and old films, often calling out racism, social injustice, misogyny, and prejudice.

While there’s no perfect approach to writing a review, there are best practices that every aspiring reviewer should consider.

Here are ten tips on writing a compelling piece.

1. Watch the film at least once.

For new reviewers, it’s impossible to capture everything after one viewing. Watching the film first, then watching to take notes, is an easy way to improve the quality of your final review. This will also make it easy to recall in-the-moment thoughts and reactions.

Take a review by Christian Blauvelt of Charlie Chaplin’s silent film The Circus , for example. Since the film does not have sound, properly critiquing the film requires close attention. Viewers have to pay attention to the various nuances in Chaplin’s performance, follow the story, and take in the cinematography. Regarding The Circus , Blauvelt writes, “The film lacks a conventional plot, but is rather a pearl necklace of strung-together episodes. ” The statement isn’t a criticism, but a keen observation likely gleaned from more than one viewing. 

So while every film reviewer has their own approach, many choose to watch a film more than once to deliver the best possible review. Image The Criterion Collection.

2. Express your opinions and support your criticism.

Professional reviewers do not shy away from sharing whether they thought a movie was good, bad, or indifferent. In a review for the film Mother!, reviewer Candice Frederick describes the film as “uncomfortable,” and “controversial,” helping viewers understand the tone of the movie. While Frederick seemed to enjoy the film, her honesty about how it would make audiences feel was vital in writing the review.

Be sure to back up these thoughts with specifics–a disappointing performance, beautiful cinematography, difficult material that leaves you thinking, and so on. Professional reviewers should express why and how they came to their criticism.

3. Consider your audience.

Are you writing for a fan site or a news outlet? Who will read your pieces, and what are their interests? Knowing who your readers are and where the review will be published can help you decide what elements of the movie to highlight. For example, take these two very different reviews for the film ‘Synecdoche, New York’.  

The first review was written by Alonso Duralde for The Today Show , and clocks in at around 500 words. The film focuses on the bullet points: characters, plot, and a concise review. The second review is over 3,000 words and published on the Critical Critics blog . This review goes into massive depth (and yes, includes spoilers) about the film, providing an incredible amount of analysis. The first review is tailored for the casual filmgoer, while the second is for cinephiles. Each review serves a different purpose.

It’s also a good idea to adjust your writing style to fit the target audience. For example, Alonso Duralde is a talented film reviewer and likely wrote the review to fit the tone of The Today Show site. Image via Director’s Library.

4. Talk about the acting.

When reviewing a film, it’s important to take space to discuss the performances. Does the film feature a seasoned actor in a new kind of role or a brilliant performance from a rising star? How was the acting? In a review by Brett Milam for the award-winning film Whiplash , he goes into rich detail about performances by both breakthrough actor Miles Teller and seasoned professional JK Simmons.

Regarding Teller, Milam writes, “This is a performance. This is art,” and about Simmons, “I found him fascinating to just look at.” Those are just small examples of the analysis he provides regarding their acting. As the film mostly focuses on the relationship between their two characters, Miles as the protagonist and JK as the antagonist, the review of the performances lends well to the plot of the film: student and teacher going head to head in an intense and determined showdown. 

Feedback about how well the actors handled the script, the dynamics in an ensemble, and so much more can help describe how the actors did in any given film.

5. Call out directors, cinematographers, and special effects.

Reviews that include highlights or missteps of directors, cinematographers, and costume designers can help provide support to your critiques. By providing specific examples of what worked, what surprised you, and what fell short of expectations, reviewers can write a well-thought-out review that goes beyond whether or not you liked it.

In a review for A Wrinkle in Time , Monique Jones artfully crafts a piece that diplomatically cites the missteps of the film. From analyzing the quality of the CGI to the camera techniques to inconsistencies in the rules of the fantasy universe, Jones fairly offers a critique that guides the filmmakers and crew on future endeavors. To write this type of review, it helps to have some knowledge of the filmmaking process so you can properly assess the screenwriting, cinematography, special effects, acting, and more. Image via Disney.

6. No spoilers!

The point of writing a movie review is to get people interested in seeing a movie. That’s why it’s absolutely best practice to not reveal spoilers in a film review. Film reviewer Robert Daniels approaches this creatively. In his review of Annihilation , he provides commentary on what would be considered spoilers. However, he places that part of the review at the bottom of the article under a bold header/image that warns the reader he’s about to spoil the film. For reviewers who want to dissect the entire film, this is a good way to both tease the film for anyone who hasn’t seen it and cater to people who want to know what the ending is.

Remember: the goal of any film review is to discuss the plot without revealing any twists or the ending of the film. 

7. Study the professionals.

As with all writing endeavors, the more you read, the better. However, with the modern landscape of film reviewing, which can go beyond writing and extend to content creation for social media platforms, there are a ton of reviewers to take notes from. First, determine what kind of reviewer you want to be, and what kind of medium you plan to deliver your reviews on. If you plan to post to Medium, for example, studying the reviewers already established on the site can be a great starting point.

Then, read film reviews for some of your favorite films. Determine which style of review you like and don’t like. Question why, and use your critical eye to consider why one reviewer has a hundred thousand followers and another only has two. If you’re looking to be featured on a website or a magazine, read the publications where you’d like your writing to appear as a template for your reviews, and don’t forget to read the submission guidelines. A few examples of film review professionals include Rotten Tomatoes , Roger Ebert , and Film Comment. 

8. Reread, rewrite, and edit.

While writing film critique is based on opinion, and follows the style of the reviewer, it’s still important to edit work. Writers should check for spelling, grammar, and readability. No matter how good a writer’s opinions are, they will not be taken seriously if the director’s name isn’t spelled correctly. Tools such as Grammarly and Hemingway Editor can be great for correcting and finding areas that need improvement. 

9. Find your voice.

The best reviewers have a distinct personality that comes across in their writing. Los Angeles Times film reviewer Carlos Aguilar wrote an impassioned piece about the film Beatriz at Dinner , going into a lot of detail about his experiences working in the film industry and his Mexican heritage. By sharing anecdotes about casual racism he’s experienced and connecting it to the film’s protagonist, and what she goes through, the review feels personal and relatable.

“If at a film festival – to which I’ve gotten access to because I’m a published writer – in a progressive city like Los Angeles, I must keep my guard up when people question my right to be there, then how are the voiceless supposed to feel safe, respected, or hopeful?” Aguilar writes. 

For new reviewers, developing this type of unique voice does not happen overnight, so take every opportunity to write as an opportunity to develop your style. Image via BBC.

10. Know your taste.

As a film reviewer, it can be helpful to identify your taste in film. By knowing specific preferences, strengths, and biases, reviewers can offer nuanced critiques that resonate with audiences and provide valuable guidance on which films they might enjoy. Additionally, it helps to maintain credibility and integrity as a reviewer by ensuring that assessments are authentic and reflective of personal cinematic sensibilities.

Try to explore various genres, directors, and themes to understand what resonates emotionally, intellectually, and aesthetically. Pay attention to the types of stories that engage you, which can help define your preferences.

Learn More About Filmmaking at NYFA

Film students with writing experience actually make great reviewers, as many of them are required to study a range of topics relating to film that can include cinematography, screenwriting, producing, and much more. Ready to build even more skills in filmmaking? Request more information about New York Film Academy’s filmmaking programs and workshops today!

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Nonfiction Books » Music & Drama » Film, Cinema & TV

The best books on film criticism, recommended by andrew sarris.

The legendary American critic, Andrew Sarris , sounds off on auteurism, his own career and the value of the traditional film-writing canon over internet innovations such as IMDB. He picks the best books on film criticism.

Interview by Eve Gerber

Agee on Film by James Agee

The Immediate Experience by Robert Warshow, Stanley Cavell and Lionel Trilling

What is Cinema? Volume 1 by André Bazin

Negative Space by Manny Farber

The New Biographical Dictionary of Film by David Thomson

1 Agee on Film by James Agee

2 the immediate experience by robert warshow, stanley cavell and lionel trilling, 3 what is cinema volume 1 by andré bazin, 4 negative space by manny farber, 5 the new biographical dictionary of film by david thomson.

B efore we talk about film criticism’s golden era, let me ask a question about its future: Do you think the paring of print payrolls, the proliferation of viewer reviews, and the emergence of Internet aggregators, like Metacritic, will spell an end to serious criticism? And if serious criticism no longer pays, what will fuel the arguments among cinephiles that used to occur under theatre marquees (at least in Woody Allen movies)?

Let’s move on to that writing, starting with James Agee. He is best remembered for his sober social reporting and his posthumously-published Pulitzer Prize-winning novel, A Death in the Family . Agee on Film assembles essays he wrote about film during the 1940s.

I read Agee in high school. He was deeply humanistic. He was an inspiring force for me as well as for many other critics. He was a message critic, very much concerned with what film said, and very sociologically oriented.

“Before the auteurists, Hitchcock was considered trivial. Now the notion that Hitchcock’s body of work was important is not so controversial.”

Let’s move on to The Immediate Experience, a collection of criticism by Robert Warshow, who died in 1955. His analyses of the archetypes of mid-century cinema, including cowboys and gangsters, were so canonical that this collection was published in 1962 and then republished in 2002.

He died at a very young age – he was 37 – but he had a tremendous influence on many contemporary critics. You read him to get a different slant on film and criticism. He took movies as they were, and didn’t ask them to bear the weight of social messages.

Warshow focused on the ‘immediate experience’ of the viewer – how a movie moved a man. He, in fact, preferred the term ‘movie’ to the more highfalutin ‘film’. He suggested that we should judge films based on the emotional effect they have on us.

The next collection you chose, if we go in chronological order, has a very different point of view. This is What is Cinema by André Bazin, France’s most esteemed film critic .

Bazin was the antithesis of Russian film theorist and director Sergei Eisenstein, who posited that film didn’t become film until it was sliced up and served montage-style.  Eisenstein advocated for the collision of images and conflict of classes in films. Bazin believed that films should be smooth, and needn’t be so socially weighty; he felt that films should have a realism to them. He focused on mise-en-scène, as opposed to montage.

Bazin was one of the founders of the Cahiers du Cinema, which popularised the auteur theory of film.

You are credited – and were at times blamed – for importing Bazin’s theory of auteurism to the States. Can you explain the theory and how it influenced the course of film criticism?

Auterism acknowledged that the director was the dominant personality in films and that films reflected a director’s vision. That was how it changed the trajectory of criticism. It was accused of ignoring every other contributor and technician involved in film – unfairly so.

Auteurism helped us understand that a director’s work should be judged on its artistry rather than its subject matter. Before I became familiar with the work of Bazin, I felt that film had to be ambitious and socially conscious to be valuable. Bazin and Cahiers helped me realise that cinema was sui generis , that film didn’t have to prove its social relevance, and that film should be judged on its own terms.

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Let’s move on to the work of a very different critic. Manny Farber (the author of Negative Space) wrote about film for Time, The Nation, and Artforum from the late 40s through the early 70s. 

Manny Farber was the ultimate iconoclast. He pointed out the ways in which some of the most revered directors of the era, such as John Huston, were pretentious and insensitive to the medium. At times he would underrate people who were overrated. On the other hand, he brought to broader attention some directors who had previously been dismissed as insignificant, such as Samuel Fuller. Like Warshow, Farber uplifted action movies.

Some credit Faber with creating a prose style that matched the fluidity of film. 

He was a great writer. I think his reviews read better now than they did at the moment he wrote them.

Farber is remembered for favouring what he called ‘termite art’, art which burrowed into its subject matter in a down-to-earth way, over ‘white elephant art’, which pretentiously trumpeted its own importance. Did his focus on the value of ‘termite art’ alter perceptions of popular cinema? 

Your final choice is The New Biographical Dictionary of Film, by David Thomson. It was first published in 1975, and a fifth edition just came out in October. Tell me why you selected this over other reference works. 

This volume is a compendium of biographical profiles of just about every major figure in film. But it is really much more than a movie reference book; Thomson writes better than almost any other encyclopaedic critic. And he writes with a great deal of humour. He packs a lot into each entry in his Dictionary. 

Thomson is a great analyst of acting. He did the same thing with actors that Bazin did with directors: he ennobled their work and made us all see how cinema depends on them.

Why is Thomson’s work still worth reading in the age of IMDB? Why is any of this criticism still worth reading?

The work of these critics is just much more nuanced than what you can find on Internet movie databases. Agee, Bazin, Faber, Warshow, and Thomson still make great reading today. They don’t just broaden our knowledge of film; they deepen it.

Are today’s critics serving more as consumer guides?

All critics were in some sense consumer guides. There is nothing wrong with being a consumer guide. I know that the term is used in derogation. But the best writers were also the best consumer guides.

March 9, 2011

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Andrew Sarris

Andrew Sarris was a film critic and professor of film studies (1969–2010) at Columbia University. In 1960 Sarris began writing for the Village Voice. Sarris outlined his radical approach to film criticism in the essay “Notes on the Auteur Theory” (1962). He also applied the approach in his influential book The American Cinema: Directors and Directions 1929–1968 (1968). Sarris left the Village Voice in 1989 to write for the New York Observer, where he remained for 20 years.

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How to write a book or film review

Writing a book/film review

Do you know how to write a book or a film review? Follow these steps.

Pre writing

Remember and take notes of the plot of the story. What impression did it produce on you?

Introduction:

Give the title and author of the book, mention the type of the book. If you’re reviewing a film mention the type of film, the director and the actors.

Summarize the plot in a few sentences.

Mention the setting: the place and time of the plot.

Say something about the main characters.

Say something about the content.

Conclusion:  

Comment on the book or film.

Let others know whether or not you liked the book/film.

Give your opinion about the acting of the actors, sound  track, special effects.

Is the author’s style good or bad, is the book / film interesting or boring etc.

Do you want to recommend the book/film?

Post writing

Edit your writing.

Useful Expressions

Title, author / director, actors.

The film is directed by The film is produced by.. It is starred by… The book is written by …

The action takes place in … (setting) The action of the film is set in … The story takes place in…

Characters and Plot

The main characters are … The story is about …. The novel tells the story of … In the course of the novel the action develops dramatically. The novel / film begins with… The novel has an unexpected ending. The end of … is …

I am impressed by I think …. The book is terribly / beautifully written The film is terrible / exciting. What surprised me is … What I liked is… What I didn’t like is… I liked/didn’t like the film / novel because …

Kinds of films / movies

• Action movies  have a lot of exciting effects like car chases and gun fight. They usually involve ‘goodies’ and ‘baddies’, so war and crime are common subjects. Action movies usually need very little effort to watch, since the plot is normally simple.
• Adventure movies usually involve a hero who sets out on a quest to save the world or loved ones.
• Animated  movies
• Comedies  are funny movies about people being silly or doing unusual things that make the audience laugh.
• Documentaries  are movies that are about real people and real events. They are nearly always serious and may involve strongly emotional subjects, for example cruelty.
• Dramas  are serious, and often about people falling in love or needing to make a big decision in their life. They tell stories about relationships between people.
• Tragedies  are always dramas, and are about people in trouble. For example, a husband and wife who are divorcing must each try to prove to a court of law that they are the best person to take care of their child. Emotion (feelings) are a big part of the movie and the audience (people watching the movie) may get upset and even cry.
• Family  movies are made to be good for the entire family. They are mainly made for children but often entertaining for adults as well. Disney is famous for their family movies.
• Horror movies  use fear to excite the audience. Music, lighting and sets (man-made places in movie studios where the movie is made) are all designed to add to the feeling.
• Romantic Comedies  (Rom-Coms) are usually love stories about 2 people from different worlds, who must overcome obstacles to be together. Rom-Coms are always light-hearted, but may include some emotion.
• Science fiction  (sci-fi) movies are set in the future or in outer space. Some use their future or alien settings to ask questions about the meaning of life or how we should think about life. Science fiction movies often use special effects to create images of alien worlds, outer space, alien creatures, and spaceships.
• Thrillers are usually about a mystery, strange event, or crime that needs to be solved. The audience is kept guessing until the final minutes, when there are usually ‘twists’ in the plot (surprises).
• Western  movies tell stories about cowboys in the western United States in the 1800s. They are usually really action movies, but with historical costume. They may or may not involve Indians (Native Americans).
• Fantasy  movies include magical and impossible things that any real human being cannot do.

Review Sample

One of my favourite films is one of the Star Wars series. I’ve got the video. It’s an exciting science fiction film and it’s called The Phantom Menace . It’s the first part of a trilogy about a boy called Anakin Skywalker.

In this film Anakin is nine years old and he lives with his mother on planet Tatsin. Strange-looking creatures rule this planet and Anakin and all the other human beings are slaves. Anakin’s dream is to become one of the Jedi knights, the brave guardians of the galaxy, and free his people. One day two Jedi knights land on Tatsin and Anakin thinks his dream might finally come true.

I enjoy watching this film because it’s never boring. The story is full of surprises and suspense. And the action never stops. There are spaceship races, battles with robots and really exciting fight scenes with the Jedi knights. I like those the best. Also, the space scenes and the different creatures on the planets are amazing and they look so real.

You must go and see this film or get the video. You may not like science fiction but this film is special. The story is exciting and the scenery and acting is brilliant. And it’s not just a film for children. All the family should see it. I can’t wait to see the next two films in the trilogy.

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How to Write a Book Review: A Comprehensive Tutorial With Examples

You don’t need to be a literary expert to craft captivating book reviews. With one in every three readers selecting books based on insightful reviews, your opinions can guide fellow bibliophiles toward their next literary adventure.

Learning how to write a book review will not only help you excel at your assigned tasks, but you’ll also contribute valuable insights to the book-loving community and turn your passion into a professional pursuit.

In this comprehensive guide,  PaperPerk  will walk you through a few simple steps to master the art of writing book reviews so you can confidently embark on this rewarding journey.

What is a Book Review?

A book review is a critical evaluation of a book, offering insights into its content, quality, and impact. It helps readers make informed decisions about whether to read the book.

Writing a book review as an assignment benefits students in multiple ways. Firstly, it teaches them how to write a book review by developing their analytical skills as they evaluate the content, themes, and writing style .

Secondly, it enhances their ability to express opinions and provide constructive criticism. Additionally, book review assignments expose students to various publications and genres, broadening their knowledge.

Furthermore, these tasks foster essential skills for academic success, like critical thinking and the ability to synthesize information. By now, we’re sure you want to learn how to write a book review, so let’s look at the book review template first.

Table of Contents

Book Review Template

How to Write a Book Review- A Step-by-Step Guide

Check out these 5 straightforward steps for composing the best book review.

Step 1: Planning Your Book Review – The Art of Getting Started

You’ve decided to take the plunge and share your thoughts on a book that has captivated (or perhaps disappointed) you. Before you start book reviewing, let’s take a step back and plan your approach. Knowing how to write a book review that’s both informative and engaging is an art in itself.

Choosing Your Literature

First things first, pick the book you want to review. This might seem like a no-brainer, but selecting a book that genuinely interests you will make the review process more enjoyable and your insights more authentic.

Crafting the Master Plan

Next, create an  outline  that covers all the essential points you want to discuss in your review. This will serve as the roadmap for your writing journey.

The Devil is in the Details

As you read, note any information that stands out, whether it overwhelms, underwhelms, or simply intrigues you. Pay attention to:

• The characters and their development
• The plot and its intricacies
• Any themes, symbols, or motifs you find noteworthy

Remember to reserve a body paragraph for each point you want to discuss.

The Key Questions to Ponder

When planning your book review, consider the following questions:

• What’s the plot (if any)? Understanding the driving force behind the book will help you craft a more effective review.
• Is the plot interesting? Did the book hold your attention and keep you turning the pages?
• Are the writing techniques effective? Does the author’s style captivate you, making you want to read (or reread) the text?
• Are the characters or the information believable? Do the characters/plot/information feel real, and can you relate to them?
• Would you recommend the book to anyone? Consider if the book is worthy of being recommended, whether to impress someone or to support a point in a literature class.
• What could be improved? Always keep an eye out for areas that could be improved. Providing constructive criticism can enhance the quality of literature.

Step 2 – Crafting the Perfect Introduction to Write a Book Review

In this second step of “how to write a book review,” we’re focusing on the art of creating a powerful opening that will hook your audience and set the stage for your analysis.

Identify Your Book and Author

Begin by mentioning the book you’ve chosen, including its  title  and the author’s name. This informs your readers and establishes the subject of your review.

Ponder the Title

Next, discuss the mental images or emotions the book’s title evokes in your mind . This helps your readers understand your initial feelings and expectations before diving into the book.

Judge the Book by Its Cover (Just a Little)

Take a moment to talk about the book’s cover. Did it intrigue you? Did it hint at what to expect from the story or the author’s writing style? Sharing your thoughts on the cover can offer a unique perspective on how the book presents itself to potential readers.

Present Your Thesis

Now it’s time to introduce your thesis. This statement should be a concise and insightful summary of your opinion of the book. For example:

“Normal People” by Sally Rooney is a captivating portrayal of the complexities of human relationships, exploring themes of love, class, and self-discovery with exceptional depth and authenticity.

Ensure that your thesis is relevant to the points or quotes you plan to discuss throughout your review.

Incorporating these elements into your introduction will create a strong foundation for your book review. Your readers will be eager to learn more about your thoughts and insights on the book, setting the stage for a compelling and thought-provoking analysis.

How to Write a Book Review: Step 3 – Building Brilliant Body Paragraphs

You’ve planned your review and written an attention-grabbing introduction. Now it’s time for the main event: crafting the body paragraphs of your book review. In this step of “how to write a book review,” we’ll explore the art of constructing engaging and insightful body paragraphs that will keep your readers hooked.

Summarize Without Spoilers

Begin by summarizing a specific section of the book, not revealing any major plot twists or spoilers. Your goal is to give your readers a taste of the story without ruining surprises.

Support Your Viewpoint with Quotes

Next, choose three quotes from the book that support your viewpoint or opinion. These quotes should be relevant to the section you’re summarizing and help illustrate your thoughts on the book.

Analyze the Quotes

Write a summary of each quote in your own words, explaining how it made you feel or what it led you to think about the book or the author’s writing. This analysis should provide insight into your perspective and demonstrate your understanding of the text.

Structure Your Body Paragraphs

Dedicate one body paragraph to each quote, ensuring your writing is well-connected, coherent, and easy to understand.

For example:

• In  Jane Eyre , Charlotte Brontë writes, “I am no bird; and no net ensnares me.” This powerful statement highlights Jane’s fierce independence and refusal to be trapped by societal expectations.
• In  Normal People , Sally Rooney explores the complexities of love and friendship when she writes, “It was culture as class performance, literature fetishized for its ability to take educated people on false emotional journeys.” This quote reveals the author’s astute observations on the role of culture and class in shaping personal relationships.
• In  Wuthering Heights , Emily Brontë captures the tumultuous nature of love with the quote, “He’s more myself than I am. Whatever our souls are made of, his and mine are the same.” This poignant line emphasizes the deep, unbreakable bond between the story’s central characters.

By following these guidelines, you’ll create body paragraphs that are both captivating and insightful, enhancing your book review and providing your readers with a deeper understanding of the literary work. 

How to Write a Book Review: Step 4 – Crafting a Captivating Conclusion

You’ve navigated through planning, introductions, and body paragraphs with finesse. Now it’s time to wrap up your book review with a  conclusion that leaves a lasting impression . In this final step of “How to write a Book Review,” we’ll explore the art of writing a memorable and persuasive conclusion.

Summarize Your Analysis

Begin by summarizing the key points you’ve presented in the body paragraphs. This helps to remind your readers of the insights and arguments you’ve shared throughout your review.

Offer Your Final Conclusion

Next, provide a conclusion that reflects your overall feelings about the book. This is your chance to leave a lasting impression and persuade your readers to consider your perspective.

Address the Book’s Appeal

Now, answer the question: Is this book worth reading? Be clear about who would enjoy the book and who might not. Discuss the taste preferences and circumstances that make the book more appealing to some readers than others.

For example:  The Alchemist is a book that can enchant a young teen, but those who are already well-versed in classic literature might find it less engaging.

Be Subtle and Balanced

Avoid simply stating whether you “liked” or “disliked” the book. Instead, use nuanced language to convey your message. Highlight the pros and cons of reading the type of literature you’ve reviewed, offering a balanced perspective.

Bringing It All Together

By following these guidelines, you’ll craft a conclusion that leaves your readers with a clear understanding of your thoughts and opinions on the book. Your review will be a valuable resource for those considering whether to pick up the book, and your witty and insightful analysis will make your review a pleasure to read. So conquer the world of book reviews, one captivating conclusion at a time!

How to Write a Book Review: Step 5 – Rating the Book (Optional)

You’ve masterfully crafted your book review, from the introduction to the conclusion. But wait, there’s one more step you might consider before calling it a day: rating the book. In this optional step of “how to write a book review,” we’ll explore the benefits and methods of assigning a rating to the book you’ve reviewed.

Why Rate the Book?

Sometimes, when writing a professional book review, it may not be appropriate to state whether you liked or disliked the book. In such cases, assigning a rating can be an effective way to get your message across without explicitly sharing your personal opinion.

How to Rate the Book

There are various rating systems you can use to evaluate the book, such as:

• A star rating (e.g., 1 to 5 stars)
• A numerical score (e.g., 1 to 10)
• A letter grade (e.g., A+ to F)

Choose a rating system that best suits your style and the format of your review. Be consistent in your rating criteria, considering writing quality, character development, plot, and overall enjoyment.

Tips for Rating the Book

Here are some tips for rating the book effectively:

• Be honest: Your rating should reflect your true feelings about the book. Don’t inflate or deflate your rating based on external factors, such as the book’s popularity or the author’s reputation.
• Be fair: Consider the book’s merits and shortcomings when rating. Even if you didn’t enjoy the book, recognize its strengths and acknowledge them in your rating.
• Be clear: Explain the rationale behind your rating so your readers understand the factors that influenced your evaluation.

Wrapping Up

By including a rating in your book review, you provide your readers with additional insight into your thoughts on the book. While this step is optional, it can be a valuable tool for conveying your message subtly yet effectively. So, rate those books confidently, adding a touch of wit and wisdom to your book reviews.

Additional Tips on How to Write a Book Review: A Guide

In this segment, we’ll explore additional tips on how to write a book review. Get ready to captivate your readers and make your review a memorable one!

Hook ’em with an Intriguing Introduction

Keep your introduction precise and to the point. Readers have the attention span of a goldfish these days, so don’t let them swim away in boredom. Start with a bang and keep them hooked!

Embrace the World of Fiction

When learning how to write a book review, remember that reviewing fiction is often more engaging and effective. If your professor hasn’t assigned you a specific book, dive into the realm of fiction and select a novel that piques your interest.

Opinionated with Gusto

Don’t shy away from adding your own opinion to your review. A good book review always features the writer’s viewpoint and constructive criticism. After all, your readers want to know what  you  think!

Express Your Love (or Lack Thereof)

If you adored the book, let your readers know! Use phrases like “I’ll definitely return to this book again” to convey your enthusiasm. Conversely, be honest but respectful even if the book wasn’t your cup of tea.

Templates and Examples and Expert Help: Your Trusty Sidekicks

Feeling lost? You can always get help from formats, book review examples or online  college paper writing service  platforms. These trusty sidekicks will help you navigate the world of book reviews with ease. 

Be a Champion for New Writers and Literature

Remember to uplift new writers and pieces of literature. If you want to suggest improvements, do so kindly and constructively. There’s no need to be mean about anyone’s books – we’re all in this literary adventure together!

Criticize with Clarity, Not Cruelty

When adding criticism to your review, be clear but not mean. Remember, there’s a fine line between constructive criticism and cruelty. Tread lightly and keep your reader’s feelings in mind.

Avoid the Comparison Trap

Resist the urge to compare one writer’s book with another. Every book holds its worth, and comparing them will only confuse your reader. Stick to discussing the book at hand, and let it shine in its own light.

Top 7 Mistakes and How to Avoid Them

Writing a book review can be a delightful and rewarding experience, especially when you balance analysis, wit, and personal insights. However, some common mistakes can kill the brilliance of your review. 

In this section of “How to write a book review,” we’ll explore the top 7 blunders writers commit and how to steer clear of them, with a dash of  modernist literature  examples and tips for students writing book reviews as assignments.

Succumbing to the Lure of Plot Summaries

Mistake: Diving headfirst into a plot summary instead of dissecting the book’s themes, characters, and writing style.

Example: “The Bell Jar chronicles the life of a young woman who experiences a mental breakdown.”

How to Avoid: Delve into the book’s deeper aspects, such as its portrayal of mental health, societal expectations, and the author’s distinctive narrative voice. Offer thoughtful insights and reflections, making your review a treasure trove of analysis.

Unleashing the Spoiler Kraken

Mistake: Spilling major plot twists or the ending without providing a spoiler warning, effectively ruining the reading experience for potential readers.

Example: “In Metamorphosis, the protagonist’s transformation into a monstrous insect leads to…”

How to Avoid: Tread carefully when discussing significant plot developments, and consider using spoiler warnings. Focus on the impact of these plot points on the overall narrative, character growth, or thematic resonance.

Riding the Personal Bias Express

Mistake: Allowing personal bias to hijack the review without providing sufficient evidence or reasoning to support opinions.

Example: “I detest books about existential crises, so The Sun Also Rises was a snoozefest.”

How to Avoid: While personal opinions are valid, it’s crucial to back them up with specific examples from the book. Discuss aspects like writing style, character development, or pacing to support your evaluation and provide a more balanced perspective.

Wielding the Vague Language Saber

Mistake: Resorting to generic, vague language that fails to capture the nuances of the book and can come across as clichéd.

Example: “This book was mind-blowing. It’s a must-read for everyone.”

How to Avoid: Use precise and descriptive language to express your thoughts. Employ specific examples and quotations to highlight memorable scenes, the author’s unique writing style, or the impact of the book’s themes on readers.

Ignoring the Contextualization Compass

Mistake: Neglecting to provide context about the author, genre, or cultural relevance of the book, leaving readers without a proper frame of reference.

Example: “This book is dull and unoriginal.”

How to Avoid: Offer readers a broader understanding by discussing the author’s background, the genre conventions the book adheres to or subverts, and any societal or historical contexts that inform the narrative. This helps readers appreciate the book’s uniqueness and relevance.

Overindulging in Personal Preferences

Mistake: Letting personal preferences overshadow an objective assessment of the book’s merits.

Example: “I don’t like stream-of-consciousness writing, so this book is automatically bad.”

How to Avoid: Acknowledge personal preferences but strive to evaluate the book objectively. Focus on the book’s strengths and weaknesses, considering how well it achieves its goals within its genre or intended audience.

Forgetting the Target Audience Telescope

Mistake: Failing to mention the book’s target audience or who might enjoy it, leading to confusion for potential readers.

Example: “This book is great for everyone.”

How to Avoid: Contemplate the book’s intended audience, genre, and themes. Mention who might particularly enjoy the book based on these factors, whether it’s fans of a specific genre, readers interested in character-driven stories, or those seeking thought-provoking narratives.

By dodging these common pitfalls, writers can craft insightful, balanced, and engaging book reviews that help readers make informed decisions about their reading choices.

These tips are particularly beneficial for students writing book reviews as assignments, as they ensure a well-rounded and thoughtful analysis.!

Many students requested us to cover how to write a book review. This thorough guide is sure to help you. At Paperperk, professionals are dedicated to helping students find their balance. We understand the importance of good grades, so we offer the finest writing service , ensuring students stay ahead of the curve. So seek expert help because only Paperperk is your perfect solution!

What is the difference between a book review and a report?

Who is the target audience for book reviews and book reports, how do book reviews and reports differ in length and content, can i write professional book reviews, what are the key aspects of writing professional book reviews, how can i enhance my book-reviewing skills to write professional reviews, what should be included in a good book review.

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How to Write a Book Review: The Ultimate Guide

WHAT IS A BOOK REVIEW?

Traditionally, book reviews are evaluations of a recently published book in any genre. Usually, around the 500 to 700-word mark, they briefly describe a text’s main elements while appraising the work’s strengths and weaknesses. Published book reviews can appear in newspapers, magazines, and academic journals. They provide the reader with an overview of the book itself and indicate whether or not the reviewer would recommend the book to the reader.

WHAT IS THE PURPOSE OF A BOOK REVIEW?

There was a time when book reviews were a regular appearance in every quality newspaper and many periodicals. They were essential elements in whether or not a book would sell well. A review from a heavyweight critic could often be the deciding factor in whether a book became a bestseller or a damp squib. In the last few decades, however, the book review’s influence has waned considerably, with many potential book buyers preferring to consult customer reviews on Amazon, or sites like Goodreads, before buying. As a result, book review’s appearance in newspapers, journals, and digital media has become less frequent.

WHY BOTHER TEACHING STUDENTS TO WRITE BOOK REVIEWS AT ALL?

Even in the heyday of the book review’s influence, few students who learned the craft of writing a book review became literary critics! The real value of crafting a well-written book review for a student does not lie in their ability to impact book sales. Understanding how to produce a well-written book review helps students to:

●     Engage critically with a text

●     Critically evaluate a text

●     Respond personally to a range of different writing genres

●     Improve their own reading, writing, and thinking skills.

Not to Be Confused with a Book Report!

WHAT’S THE DIFFERENCE BETWEEN A BOOK REVIEW AND A BOOK REPORT?

While the terms are often used interchangeably, there are clear differences in both the purpose and the format of the two genres. Generally speaking, book reports aim to give a more detailed outline of what occurs in a book. A book report on a work of fiction will tend to give a comprehensive account of the characters, major plot lines, and themes in the book. Book reports are usually written around the K-12 age range, while book reviews tend not to be undertaken by those at the younger end of this age range due to the need for the higher-level critical skills required in writing them. At their highest expression, book reviews are written at the college level and by professional critics.

Learn how to write a book review step by step with our complete guide for students and teachers by familiarizing yourself with the structure and features.

BOOK REVIEW STRUCTURE

ANALYZE Evaluate the book with a critical mind.

THOROUGHNESS The whole is greater than the sum of all its parts. Review the book as a WHOLE.

COMPARE Where appropriate compare to similar texts and genres.

THUMBS UP OR DOWN? You are going to have to inevitably recommend or reject this book to potential readers.

BE CONSISTENT Take a stance and stick with it throughout your review.

FEATURES OF A BOOK REVIEW

PAST TENSE You are writing about a book you have already read.

EMOTIVE LANGUAGE Whatever your stance or opinion be passionate about it. Your audience will thank you for it.

VOICE Both active and passive voice are used in recounts.

A COMPLETE UNIT ON REVIEW AND ANALYSIS OF TEXTS

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ELEMENTS OF A BOOK REVIEW

As with any of the writing genres we teach our students, a book review can be helpfully explained in terms of criteria. While there is much to the ‘art’ of writing, there is also, thankfully, a lot of the nuts and bolts that can be listed too. Have students consider the following elements before writing:

●     Title: Often, the title of the book review will correspond to the title of the text itself, but there may also be some examination of the title’s relevance. How does it fit into the purpose of the work as a whole? Does it convey a message or reveal larger themes explored within the work?

●     Author: Within the book review, there may be some discussion of who the author is and what they have written before, especially if it relates to the current work being reviewed. There may be some mention of the author’s style and what they are best known for. If the author has received any awards or prizes, this may also be mentioned within the body of the review.

●     Genre: A book review will identify the genre that the book belongs to, whether fiction or nonfiction, poetry, romance, science-fiction, history etc. The genre will likely tie in, too with who the intended audience for the book is and what the overall purpose of the work is.

●     Book Jacket / Cover: Often, a book’s cover will contain artwork that is worthy of comment. It may contain interesting details related to the text that contribute to, or detract from, the work as a whole.

●     Structure: The book’s structure will often be heavily informed by its genre. Have students examine how the book is organized before writing their review. Does it contain a preface from a guest editor, for example? Is it written in sections or chapters? Does it have a table of contents, index, glossary etc.? While all these details may not make it into the review itself, looking at how the book is structured may reveal some interesting aspects.

●     Publisher and Price: A book review will usually contain details of who publishes the book and its cost. A review will often provide details of where the book is available too.

BOOK REVIEW KEY ELEMENTS

As students read and engage with the work they will review, they will develop a sense of the shape their review will take. This will begin with the summary. Encourage students to take notes during the reading of the work that will help them in writing the summary that will form an essential part of their review. Aspects of the book they may wish to take notes on in a work of fiction may include:

●     Characters: Who are the main characters? What are their motivations? Are they convincingly drawn? Or are they empathetic characters?

●     Themes: What are the main themes of the work? Are there recurring motifs in the work? Is the exploration of the themes deep or surface only?

●     Style: What are the key aspects of the writer’s style? How does it fit into the wider literary world?

●     Plot: What is the story’s main catalyst? What happens in the rising action? What are the story’s subplots? 

A book review will generally begin with a short summary of the work itself. However, it is important not to give too much away, remind students – no spoilers, please! For nonfiction works, this may be a summary of the main arguments of the work, again, without giving too much detail away. In a work of fiction, a book review will often summarise up to the rising action of the piece without going beyond to reveal too much!

The summary should also provide some orientation for the reader. Given the nature of the purpose of a review, it is important that students’ consider their intended audience in the writing of their review. Readers will most likely not have read the book in question and will require some orientation. This is often achieved through introductions to the main characters, themes, primary arguments etc. This will help the reader to gauge whether or not the book is of interest to them.

Once your student has summarized the work, it is time to ‘review’ in earnest. At this point, the student should begin to detail their own opinion of the book. To do this well they should:

i. Make It Personal

Often when teaching essay writing we will talk to our students about the importance of climbing up and down the ladder of abstraction. Just as it is helpful to explore large, more abstract concepts in an essay by bringing it down to Earth, in a book review, it is important that students can relate the characters, themes, ideas etc to their own lives.

Book reviews are meant to be subjective. They are opinion pieces, and opinions grow out of our experiences of life. Encourage students to link the work they are writing about to their own personal life within the body of the review. By making this personal connection to the work, students contextualize their opinions for the readers and help them to understand whether the book will be of interest to them or not in the process.

ii. Make It Universal

Just as it is important to climb down the ladder of abstraction to show how the work relates to individual life, it is important to climb upwards on the ladder too. Students should endeavor to show how the ideas explored in the book relate to the wider world. The may be in the form of the universality of the underlying themes in a work of fiction or, for example, the international implications for arguments expressed in a work of nonfiction.

iii. Support Opinions with Evidence

A book review is a subjective piece of writing by its very nature. However, just because it is subjective does not mean that opinions do not need to be justified. Make sure students understand how to back up their opinions with various forms of evidence, for example, quotations, statistics, and the use of primary and secondary sources.

EDIT AND REVISE YOUR BOOK REVIEW

As with any writing genre, encourage students to polish things up with review and revision at the end. Encourage them to proofread and check for accurate spelling throughout, with particular attention to the author’s name, character names, publisher etc. 

It is good practice too for students to double-check their use of evidence. Are statements supported? Are the statistics used correctly? Are the quotations from the text accurate? Mistakes such as these uncorrected can do great damage to the value of a book review as they can undermine the reader’s confidence in the writer’s judgement.

The discipline of writing book reviews offers students opportunities to develop their writing skills and exercise their critical faculties. Book reviews can be valuable standalone activities or serve as a part of a series of activities engaging with a central text. They can also serve as an effective springboard into later discussion work based on the ideas and issues explored in a particular book. Though the book review does not hold the sway it once did in the mind’s of the reading public, it still serves as an effective teaching tool in our classrooms today.

Teaching Resources

Use our resources and tools to improve your student’s writing skills through proven teaching strategies.

BOOK REVIEW GRAPHIC ORGANIZER (TEMPLATE)

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Book and Movie review writing examples (Student Writing Samples)

Below are a collection of student writing samples of book reviews.  Click on the image to enlarge and explore them in greater detail.  Please take a moment to both read the movie or book review in detail but also the teacher and student guides which highlight some of the key elements of writing a text review

Please understand these student writing samples are not intended to be perfect examples for each age or grade level but a piece of writing for students and teachers to explore together to critically analyze to improve student writing skills and deepen their understanding of book review writing.

We would recommend reading the example either a year above and below, as well as the grade you are currently working with to gain a broader appreciation of this text type .

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Book VS Film : Which Is Really Better?

BY Kev Daniels

1st Jan 2015 Book Reviews

Book versus film, it’s the great debate of our time—or at least an honourable third place behind chicken versus egg, and Batman/Superman. But it needn’t necessarily be a case of one or the other. Here are ten notable adaptations, and why in each case it’s worth reading the book before seeing the film.

One Flew Over The Cuckoo’s Nest by Ken Kesey

As well as winning him an Oscar, Jack Nicholson’s exhilarating performance as Randle P McMurphy would immortalise the character as a black haired, grinning anti-hero, despite the fact that the McMurphy of Kesey’s novel is red haired, freckled, and significantly more troublesome. However, this is far from the biggest difference between book and film. The book is narrated from the perspective of Chief Bromden, a fellow patient who, although pivotal to the plot, remains totally silent through all 130 minutes of the film, relegated to the margins. In this sense the book serves as a great companion piece, bringing an entire other dimension to the events of the film. Also Nurse Ratched, one of Hollywood’s greatest villains, is even more terrifying in the book.

Buy  One Flew Over the Cuckoo's Nest

High Rise by J.G. Ballard

No pressure, but the clock is ticking on this one, as Director Ben Wheatley’s latest project is currently in post-production. With a ridiculously exciting cast (including Tom Hiddleston, Reece Shearsmith, Elisabeth Moss, and Jeremy Irons), it’s hard not to be confident that Wheatley’s film will capture the overarching dread and mordant humour of Ballard’s novel, the story of a block of flats that descends into chaos. If you make the mistake of just seeing the film you’ll be missing out on a stunning book, and one of the most memorable opening lines in the history of literature.

Under The Skin by Michel Faber

Inexplicably overlooked during awards season, Jonathan Glazer’s adaptation of Michel Faber’s novel features an outstandingly otherworldly performance from Scarlett Johansson, and is like nothing else in cinematic history. Screenings across the UK were marked by hushed silence, and the end credits consistently met with a collective exhalation of breath. Reading Faber’s novel beforehand won’t dilute this experience in any way, and while it does put a little flesh on the bones of the story, the film will still retain its opaque, mysterious, and thought provoking power.

The works of Stefan Zweig

As a marked contrast to Under The Skin , Wes Anderson’s The Grand Budapest Hotel has gathered award nominations in the same way his films attract Hollywood cameos. The Grand Budapest Hotel is not based on one book specifically, but is instead a distillation of the work of Stefan Zweig, the Austrian writer. Familiarise yourself with Zweig’s work before seeing the film and you’ll recognise plenty of neat homages and recurring motifs. An anthology of Zweig’s writing, hand-picked by Anderson, is available from Pushkin Press.

Watchmen by Alan Moore

Alan Moore’s work has been turned to film on numerous occasions, and the consequences have been generally disastrous (this is the bit where we skim over The League of Extraordinary Gentleman and From Hell , if that’s alright?). Well loved, and regularly muscling its way into Top 100 best novel ever-type lists, Zack Snyder appeared to have been handed quite the poisoned chalice when chosen to helm the film version of Watchmen. Although it met with middling reviews, the film does a good job of bringing a tricky piece of source material to the big screen ( that ‘Leonard Cohen’ scene aside). The book and the film have two very different end sequences, and while (whisper it) the film’s might actually be an improvement, both are well worth checking out.

Frankenstein by Mary Shelley

Many of the entries on this list are here because they play fast and loose with the source material, or reveal a whole new dimension to it. Not so Shelley’s classic novel, brought to the big screen on countless occasions. In this case, it’s worth reading the book first instead of allowing any of the adaptations to tarnish your opinion of it. The book is a masterpiece, and while of course your mileage may vary, the film adaptations seemed doomed to being uniformly terrible.

Buy  Frankenstein

A Clockwork Orange by Anthony Burgess

Stanley Kubrick’s adaptation is generally faithful to the structure and content of A Clockwork Orange , and it makes the list because the chief difference is a major one indeed. Without giving the game away, upon its initial publication in the UK, Burgess’s book ended on a relatively optimistic note. The book’s US publishers, concerned this wouldn’t appeal to an American audience with more of an appetite for violence, dropped the final chapter entirely. It was the US edition that Kubrick read whilst developing the film, and although aware of Burgess’s preferred ending he dismissed it as too unrealistic. In turn, Burgess would later describe Kubrick’s film as one ‘which seemed to glorify sex and violence’.

Buy  A Clockwork Orange

Charlie and the Chocolate Factory by Roald Dahl

The first and only adaptation of Dahl’s book (please can we all agree to pretend this is true?) is absolutely stuffed with memorable moments, not all of which appear in the book. Dahl wrote his own lyrics for the Oompa Loompas, but the eerily catchy songs that appeared on screen were written specifically for the movie.

That said, most jarring of all is the difference between the Willy Wonkas of paper and celluloid. Gene Wilder plays the latter as a much more unsettling character, his malice penned behind a fragile veneer while he escorts his charges round the premises. The chocolatier’s third-act meltdown (pun intended) is not one the Wonka of the book undergoes.

Buy  Willy Wonka and the Chocolate Factory

The Shining by Stephen King

Entry number two for Stanley Kubrick, and perhaps the biggest gap between source material and finished film on this list. King’s novel is in some ways a straightforward slice of human drama, as warm as the story of a would-be murderer can be. In contrast, Kubrick’s adaptation is almost aggressively anarchic, and massively open to interpretation.

King was disappointed with the film version, and referred to it in one of his more generous moments as simply ‘bad.’ It would be tricky to catalogue the differences between the two without plunging into spoiler territory, but both warrant our attention in their own, uniquely disturbing ways.

Buy  The Shining   

Watership Down by Richard Adams

The film that scarred a generation, and launched a thousand vegans. Our final entry makes this list for entirely cautionary purposes. Read Richard Adams’ book, and then never ever under any circumstances, let a child see the animated film, for goodness sake. 

Buy  Watership Down

  Read more articles by Kevin Daniels here

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Book Reviews

'horror movie' questions the motivation behind evil acts.

Gabino Iglesias

William Morrow hide caption

Paul Tremblay's Horror Movie is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.

Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay's already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.

In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled Horror Movie . With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.

Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played "The Thin Kid," perhaps the original film's most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but "The Thin Kid" pushes forward, as always.

Reading a Tremblay novel is entering a universe in which confusion and ambiguity —"My answer was not no. I didn't say the word 'yes'" — reign supreme. Horror Movie is no different. In fact, this might be Tremblay's most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what's happening, constantly shattering the fourth wall an acknowledging that the events are communal, that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.

While the structure of this novel is unique, the narrative itself is very easy to follow — until it's not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don't know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.

Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren't too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay's work has often interrogated the nature of horror and bad behavior, but never as clearly and he does here.

While Horror Movie is the kind of creepy narrative that can be enjoyed without much thinking, it's also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: "We laughed. I think we laughed, or I choose to remember we laughed. I think we're in more control of what we remember or what we don't remember than we assume." This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.

Horror Movie is strange and unsettling in the best way possible. This is a novel that's also a screenplay, but the story all blends together perfectly. Tremblay's unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.

Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias .

Movie Reviews

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When you hear the premise of Josh Margolin ’s feature debut, “Thelma,” you may think you know what the movie will be. Clearly modeled on his own family (the dedication at the close of the film is “for Thelma,” which suggests he didn’t even change the heroine’s name from that of his real-life grandmother), “Thelma” is a young filmmaker’s touching and funny tribute to the olds. 

The film immediately establishes the uniquely strong bond between 93-year-old Thelma ( June Squibb ) and her Gen Z grandson Daniel ( Fred Hechinger ), an affable slacker. Squibb and Hechinger beautifully play this opening sequence, creating a believably deep intergenerational bond without overplaying it or dropping a lot of exposition. Cinema usually only gives us such scenes when the grandchild is a child, not 24, which is a shame because the intergenerational bond between a person in new adulthood and someone who is a veteran sets up a lot of interesting dynamics. 

The film tackles just that by making it clear that Thelma and Daniel have a common problem: they're infantilized, chiefly by Daniel’s parents, Thelma’s daughter Gail ( Parker Posey ) and husband Alan ( Clark Gregg ). We are introduced to the couple during their busy respective workdays, which prevents them from answering Thelma's frantic calls. As a result, she gets taken by a telephone scam that costs her $10,000. 

“Thelma” sensitively portrays the humiliation of this swindle and the way it forces Gail and Alan to wonder if the time has come to put Thelma in a home. But Thelma has another idea: she decides to get her money back.  

“Thelma” was written, directed, and edited by Josh Margolin, who only has one other directing credit (a comedy short) and comes from the improv comedy world—his comedy background shows. Thelma may not move so quickly anymore, but Margolin’s camera frequently does. And his editing has a sharp sense of comic timing. A running joke in the film is the way it stylistically imitates “ Mission: Impossible " (Thelma is watching Cruise sprint across a European rooftop, and it later inspires her to action), except here, the impossible mission may involve getting off the floor after a fall. The joke is melancholy when you consider the entire “Mission: Impossible” franchise as Cruise’s offensive against the inevitability of aging. 

Thelma’s unlikely accomplice is Ben ( Richard Roundtree ), a widower and old acquaintance whom she finds a bore—that is, until she needs his cherry red two-seater scooter. Roundtree, in his final appearance in a feature film before his death last fall at age 81, resists the urge to parody his iconic John Shaft or allude to the character whatsoever—a testament to Margolin's restraint. After all, I'm sure the temptation was there. Instead, Roundtree plays a complete person and draws on a range he was far too seldom called upon to tap into. It’s a lovely performance and a moving farewell.

But needless to say, the whole film rests on June Squibb's shoulders. She brings to the part 78 years of acting experience, which is a joy to watch. Her Thelma is no saint; she is not a fount of wisdom, nor is she the kind of hacky, wacky, Funny Old Lady that was so popular in the films of my youth. Best not to say much about the final act aside from mentioning that her adversary is played by Malcolm McDowell , who manages to make his villain both funny, sad, and just a little frightening in his ruthlessness. Thelma makes questionable choices in her action-packed journey, but her refusal to give up her independence or be a victim ultimately makes her as heroic as a younger man jumping from one rooftop to another just to show us he can. 

Brandon David Wilson

Brandon Wilson is a filmmaker, film writer, and lecturer.

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Movie and Book Reviews: How to Write a Great Critique

If you've been requested to write an essay movie review along with a book review introduction, there are some required components to keep in mind. You may either save time by purchasing a custom book review example or a movie review essay sample from us, or alternatively, our movie review writing service can walk you through producing an analysis deserving of the highest grades.

When writing a movie or book review template, it is important to reflect on your personal opinion of the piece and evaluate it to certain criteria.

To review a book, it needs to comment on what points made it great and enjoyable to read and then compare it to similar books in its genre or prequels. Also, say why you would recommend it to someone and back this up with facts for every statement.

A movie review should analyze the fundamental ideas in your unique style and highlight key aspects, such as surprising narrative twists and relatable characters. Additionally, you must state why you think others should see the movie, supported by evidence and quotations. It should discuss how it stacks up against similar or precursor films and other movies in the same genre before judging whether a sequel is warranted. You won't have to keep asking yourself, 'how to write a movie review?' if you consider these things.

How to Write a Book or Movie Review Essay

When wondering how to write a book review or a movie review outline, begin by reading or watching the work as frequently as you can and make a list of all your initial thoughts. You may even compile judgments from classmates and friends to get comments from several sources.

If the chosen workpiece is well-researched, you can write a book review more intriguingly. Thorough research will help make the review writing process easier as you gain in-depth knowledge of the chosen piece to write about.

Know the Background

If the chosen book or movie is well researched, this will enable you to write a critique that will be interesting but also detailed in the right places. Thorough research will help make the review process easier as you will gain in-depth knowledge behind the chosen piece to write about.

Here are some questions to help you write the critique faster and more detailed:

• Where is the film or book set? - Knowing this will give the reader a clear picture and visual imagery into the piece and save you time having to describe it later.
• Is it a sequel and what are the origins? - Such knowledge will benefit the reader if they do not already know the series or the history and will gain a better understanding of the piece.
• Does the book or movie fall into any genre? - Establishing this will help you compare it to other books or movies later on.
• Is it a famous author or director? - This will give out more background information which you can use to make comparisons in the review.
• Interesting or significant facts about the movie or book? - Presenting these associations well will build more interest in the reader and also give you extra points to write about.
• Is the plot riveting, any major twists? - Describing the most gripping elements without spoiling the piece for the reader will give you most interest and marks.
• Are the characters well developed or believable? - If you can write about main characters or actors, this will give you more content to compare and create further interest with the reader.
• Who is the target audience and does it have appeal to others? - This will help you analyze it faster and also gain more understanding to who will appreciate the piece.

Key Elements of the Assignment

Some important sections to include in the movie and book review format are:

Introduction - It is important to make the book/film review beginning as catchy as possible, as you want your audience to be informed yet hooked. Make sure you mention the title and author in the first paragraph, too, as it can frustrate readers not knowing who they are reading about.

Main Body - This is where you should include the most descriptive details of the review, like important points from the plot and thoughts and opinions on acting, cinematography, music, special effects, costumes, literary devices, main characters, and the author's style.

Conclusion - At this point, you can give your recommendations on the piece and back this up with reasons why. Also, consider whether it changed your perception of a given topic and if something can be learned from it.

Movie Review Vs. Book Review

If you were ever wondering how to review a book and movie simultaneously, know that this is possible. It usually happens when the motion picture is based on the book. Also, you can be asked to review two different stories entirely, which have a more subtle connection, like director/author, moral, or purpose.

Let's look at the differences and similarities between a book and a movie review:

Similarities:

• Both need to mention important points about the plot or storyline.
• Highlight the main characters and what makes them memorable.
• Compare the original storyline to the latter.
• Any conventional styles from the director/author.
• Do they share the same purpose of informing the audience in some way?

Differences:

• Look at the literary devices used and what does the writing style say?
• Organization and structure play a vital part.
• Does the tone of the text or author have anything to add to the review?
• Are there any illustrations in the book or additional art that can be commented upon?
• There is less to see physically, so it is important to look for subtle imagery within the text and review this.
• Analyze the actors and what they bring to the motion picture.
• The on-screen cinematography, the set, and the lighting must be criticized.
• Does the date of release have any significance to the movie, and were there delays?
• Does the use of costumes fit the genre and period the movie is set in?
• Try to look for artistic visual references that a director might have put in and that not many people have spotted before.

So a book or movie review structure must contain your opinions and thoughts about the chosen piece. To become a professional critic, you need to know how to write a book recommendation while evaluating many different kinds of works and having them published in various media, like professional essay writers . If professional critics have reviewed your chosen work, remember what kind of feedback they gave you.

Personal Opinions vs Popular Critic Opinions

Famous critics usually write shorter reviews and use less technical language for the general public to understand. With that in mind, one must draw inspiration from the things they do well and the experiences that can help with your assignment and become a credible critic.

Here are some more questions to help with mastering how to write a good book review or a movie evaluation:

• Does the length have an impact on the piece?
• What suggestions can be added to improve it?
• Is the music catchy and adds more depth, or is it a wasted addition?
• What was the professional critic's verdict compared to yours?
• Why is the book or movie version better or worse?

Movie Review Sample

Italian Culture Through a Film Analysis: Comparison and Contrast Between Senso and Vincere

Italian cinematography goes an extra mile beyond offering entertainment to viewers and is espoused in demonstrating varied aspects of Italian history and culture through the scenes as they are played in movies in a creative manner that embodies aspects of neorealism, rich architectural value of Italy and the extended ideal of having to build stories on the enchanting ideals of music through operas. Majority of the Italian movies produced often do have their plot twists warring away from expressing the cultural ideals of Italy through the combinatory reflection of art and politics in extensive measure. Essentially the movies are tied around expounding on the revolutionary image of Italy through music during the Risorgimento era. Director’s Luchino Visconti and Marco Bellocchio are no exception to this ideal of Italian cinematography considering that the movies Senso and Vincere respectively embody varied aspects of film production with a touch and emphasis of Italian culture. The underlying chapters are dedicated towards inferring on a comparative and contrasting analysis of these two films to demonstrate an existing relationship in Italian cinematography with art and Italian politics that defines the culture of Italy through a transitive period of several decades but still resonates to the foundational tenets of the nation.

To get an understanding of Italian cinematography production in the mid Twentieth Century it is important that one gets the definition of neorealism as a style of film production. With neorealism, the plot of movies are usually tied around Italian stories of the poor and the struggling working class that in many situations involves non-professional actors with the set plays being done on location. Senso adopts this ideal of film production whereby the film is tied around explaining the Risorgimento fight that was focused on Italy’s unification as a nation thereby giving the movie a revolutionary touch. Similarly, a century later, Mussolini replicates a similar storyline in the production of Vincere which has a revolutionary touch to it. The movie title in itself embodies aspects of revolution as it is Italian for conquer and is focused on expounding on dictatorship in Italy under the Socialist party governance by inferring on the biopic of a leader’s marriage that is reflective of the overburdening trysts in the nation. Vincere is a classical release on the life of a hated leader which is brought to the big screen through adoption of a satirical glamorized aspect of horrific events of a leader that is hated by a majority of his people.

The first encounter with the rich Italian culture is first introduced to us in Senso is presented through the first act that opens with an opera performance in La Fenice prior to the country receiving its freedom from the oppressive hold of the Austrian Empire. The opera in play is Il trovatore by Verdi whose chorus have a revolutionary touch that is focused on resisting the Austrians. Conversantly, the difference between the rich and poor is portrayed at this point by an array of anti-Austrian leaflets flying in the air to the distinct sitting positions in the opera while at the same time focused on women oppression by undermining and warning of their dressing code. It progressively transitions into expounding on the love life of Livia who is the Serpieri Countless. On the other hand, Vincere also embodies aspects of the opera and opens directly into inferring on the active life of Benito Mussolini in a horrific manner that is keen on explaining the secret life of the leader and relationship to Ida Dalser with an operatic touch. A great extend of Vincere’s production is build on using the operatic sound notes that include a clamoring swelling and swooping of the music throughout the movie. Reflectively, this style is categorical with the 1930’s Italian movie reels that are focused on propaganda from this era being juxtaposed in a masterful way with ideal scenes of victims holed in mental hospitals that is compared to the billowing and subsiding voices of the opera in the movie.

Both movies go an extra mile of portraying the role and position of women in society in two different times with a comparative inference on their role in society not having changed much irrespective of the ideal that it is several decades later. Senso depicts the 19th Century perception of women in society as being baby carriers and chattels who were not allowed their democratic rights that gave rise to nationalism women who were keen on mapping a path for future women. In this case, Livia the countess is in many scenes of the movie left out when it comes to times of activities that are tied to both social and political proponents. Her life generally is planned for her as she arranged an aristocratic marriage to a man who is way older and in many instances is portrayed in a melodramatic way that depicts her as an infidel out to only satisfy her sexual desires by falling in love with Franz. Furthermore, Visconti depicts women in a demeaning manner by portraying them as prostitutes who men use as vessels of asserting their masculinity and ego as was the case of Franz who turned to prostitutes as a means of his own self-assertion. In Vincere’s case, the female sex is expressed through the character of Dalser who is subjugated by Mussolini before he ascends to power in that she sells all that in her possession so as to finance a Socialist newspaper that backs her lovers’ leadership ideals. The woman’s image is portrayed as being desperate for attention of males considering the need by Dalser to be reassured that she is loved. However, the movie has a unique way of connecting sex with the battle that emasculates to history making; the tense sexual images between the two lover transitions into an image of progressively marching soldiers thus creating a link between the troubled relationship and the situation at the battleground.

The ideal of a classical score by Crivelli being utilized in Vincere coupled with aspects of authenticated period touch and the excellent acting, the movie closely borders to melodrama but the main character in the movie gives it an absolutely different feel. Bellochio cuts short the feeling of melodrama in the movie with the intensity he brings to the movie. Senso on the other hand is played as an agonized love story that is built on the backdrop of a wide pool of history whereby neorealism has been utilized in the most ideal of ways. In its production the styled grandeur of Italy is not left out in the selection and settling for sets for different scenes; realism is utilized in the film production and incorporated with aspects of melodrama to come up with an excellent piece that encompasses love and war in a mutually enriching proponents to come up with a great film. In the production of Senso, Italian architecture is not left out, setting incorporate ideals of lined streets with balconies with people crammed all over the houses and an opera house in the town. The beauty of the Italian countryside is not left out in the depiction of architecture which goes to the extent of incorporating actual palazzos that brings out a rather soap opera feel to the whole movie when aspects of passion are expressed in the movie.

In both movies, a romantic aspect is brought out in the most twisted of ways that can be imagined and also intertwined with conflicting position in the leadership of Italy as illustrated through the historical plot twist in the movies. The women in the films play an integral role and paint effectively the romantic role in twisted ways which if incorporated with the color use in the movie production give the movies a balanced feel between romance and war. The photography of soldiers together with the sound production is exemplary go to a greater extent of giving the movies a victorious and historical feel aspect. However, Vincere fails to connect with a modern day audience which did not grow up during the era of Mussolini for it comes out as pretty difficult in making a connection between his private life inferences to his rather dictatorial public persona.

References:

• Celli, Carlo and Marga Cottino-Jones. A New Guide to Italian Cinema. New York: Palgrave Macmillan, 2007.
• Milicent, Marcus. 'Visconti's Senso The Risorgimento According to Gramsci.' Millabon, William. Italian Film in the Light of Neorealism. Princeton: Princeton University Press, 1986. 12-45.
• Thompson, Kristin, and David Bordwell. Film History: An Introduction. New York: McGraw-Hill, 2003.

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Something to Stand for with Mike Rowe

Join America's favorite storyteller on an epic journey to the heart of Washington DC. This cinematic tour de force will take viewers to the frontlines of the American Revolution, World War I... Read all Join America's favorite storyteller on an epic journey to the heart of Washington DC. This cinematic tour de force will take viewers to the frontlines of the American Revolution, World War II, the Civil Rights movement, and more. Join America's favorite storyteller on an epic journey to the heart of Washington DC. This cinematic tour de force will take viewers to the frontlines of the American Revolution, World War II, the Civil Rights movement, and more.

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The Dog Man book series is getting a feature film adaptation from DreamWorks . A new sneak peek has been revealed for the film, providing a look a the character's transition from the printed page to the big screen.

The sneak peek comes from the cover of the tie-in book, The Art of DreamWorks Dog Man , which will be released on Dec. 10, 2024 . Months ahead of the release, the book is available for pre-order at Amazon and other retailers, and the listings include the cover of the book. This features artwork as seen in the film along with the Dog Man logo. The book will include fun bonuses like concept artwork and exclusive interviews to go along with the film.

The film will be directly based on the children's book series by Dev Pilkey. Dog Man is a spinoff of Pilkey's Captain Underpants series, and the film adaptation will be directed by Peter Hastings --- the showrunner of the animated series The Epic Tales of Captain Underpants . The show followed the release of the film Captain Underpants: The First Epic Movie in 2017.

Dog Man Is Coming to Theaters in 2025

The Dog Man movie will be released on Jan. 31, 2025 , following the release of The Art of DreamWorks Dog Man on Dec. 10, 2024.

Source: Abrams Books

Chemical Society Reviews

Molecular design and architectonics towards film-based fluorescent sensing.

* Corresponding authors

a Key Laboratory of Applied Surface and Colloid Chemistry of Ministry of Education, School of Chemistry and Chemical Engineering, Shaanxi Normal University, West Chang’an Street, Xi’an, Shaanxi 710062, P. R. China E-mail: [email protected] , [email protected]

b Fluorescence Research Group, Singapore University of Technology and Design, 8 Somapah Road, Singapore 487372, Singapore E-mail: [email protected]

The past few decades have witnessed encouraging progress in the development of high-performance film-based fluorescent sensors (FFSs) for detecting explosives, illicit drugs, chemical warfare agents (CWAs), and hazardous volatile organic chemicals (VOCs), among others. Several FFSs have transitioned from laboratory research to real-world applications, demonstrating their practical relevance. At the heart of FFS technology lies the sensing films, which play a crucial role in determining the analytes and the resulting signals. The selection of sensing fluorophores and the fabrication strategies employed in film construction are key factors that influence the fluorescence properties, active-layer structures, and overall sensing behaviors of these films. This review examines the progress and innovations in the research field of FFSs over the past two decades, focusing on advancements in fluorophore design and active-layer structural engineering. It underscores popular sensing fluorophore scaffolds and the dynamics of excited state processes. Additionally, it delves into six distinct categories of film fabrication technologies and strategies, providing insights into their advantages and limitations. This review further addresses important considerations such as photostability and substrate effects. Concluding with an overview of the field's challenges and prospects, it sheds light on the potential for further development in this burgeoning area.

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R. Huang, T. Liu, H. Peng, J. Liu, X. Liu, L. Ding and Y. Fang, Chem. Soc. Rev. , 2024, Advance Article , DOI: 10.1039/D4CS00347K

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Review: ‘Thelma’ births an unlikely action hero, half sweet, half Clint Eastwood

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Back in January, Jason Statham starred in the action thriller “The Beekeeper” as a former special-ops assassin who seeks revenge on a group of people targeting the elderly in phone scams. But in Josh Margolin’s directorial debut, “Thelma,” it’s the elderly themselves who fight back against the phone scammers. Ninety-three-year-old grandmother Thelma ( June Squibb ) doesn’t need no stinkin’ Jason Statham. All she needs is a ride.

Set over the course of one day, “Thelma” is a love letter to tough grandmas and Tom Cruise, and a celebration of California’s San Fernando Valley, from Encino to Van Nuys. And while “Thelma” is notable for being the very first lead film role for the now-94-year-old Squibb, who has been performing for more than six decades, the film is also a calling card for writer-director-editor Margolin, who demonstrates his skill with screen style and suspense in this high-stakes dramedy.

Margolin does a lot with a little in “Thelma,” which is inspired by his own relationship with his grandmother, also named Thelma. While the setting may be humble, Margolin captures the unlikely beauty of the Valley, and injects thrilling suspense into this yarn, one that transforms quotidian dramas — like making an unprotected left turn, or closing pop-up ads on a webpage — into nail-biting action sequences.

Defying age and expectations, 94-year-old June Squibb is Hollywood’s latest action star

Since her Oscar-nominated turn in 2013’s ‘Nebraska,’ the stage and screen veteran has kept busy. Her latest, an action-comedy, captivated audiences at Sundance.

June 18, 2024

His surrogate in “Thelma” is Daniel (Fred Hechinger), a 24-year-old sensitive ne’er-do-well whose best friend is his grandmother Thelma. They spend time in her comfortable home, which is haunted by the absence of her recently deceased husband. Together, they watch “Mission: Impossible” movies, Daniel helping Thelma with her computer and fretting over her safety. When Thelma receives a frantic call with the news that Daniel’s been in an accident and she needs to send $10,000 in cash, she doesn’t hesitate to book over to the Encino post office to drop the money in the mailbox.

It’s when she finds out she’s been the victim of a scam that the plot kicks into gear. With Daniel safe and unharmed, the police aren’t much help, and her family (Parker Posey as her daughter, Clark Gregg as her son-in-law) throw up their hands in defeat. But Thelma isn’t about to take this lying down. She will, however, take it sitting down, behind the wheel of a two-seater scooter she “borrows” from an old friend, Ben ( Richard Roundtree , in his final role), whom she visits at an assisted living home. The two set off on an odyssey to retrieve Thelma’s cash, while Thelma’s family worries about her whereabouts.

Their journey takes them to some unlikely places, specifically an antique lamp shop manned by a menacing Malcolm McDowell, as well as to some unexpected realizations, about accepting that it’s OK to ask for help, but that independence is a rare, complicated gift to those who are later in life. It’s refreshing to see a film where someone in their 90s is able to have new revelations and learning experiences, retaining the capacity to surprise themselves and others.

Squibb is a delightful presence, capably handling the humor and the heart of the story, and demonstrating true grit too, while the late, great Roundtree offers a warm, steadying presence. Posey and Gregg bring the comedic elements as the frazzled parents of Daniel, while Hechinger is charmingly stressed about losing his grandma and trying to figure out what he’s going to do with his life.

The cast is fantastic, but it’s the cinematic style that makes “Thelma” a proper big-screen movie experience. Nick Chuba’s percussive score brings a jazzy beat that’s “Ocean’s 11” by way of “Mission: Impossible,” and David Bolen’s cinematography is richly saturated with color and creative practical lighting. Margolin’s inspired direction elevates “Thelma,” imbuing each moment with a thoughtful eye toward craft.

“Elderly female action star” is a cute premise, but Margolin makes the most of it without infantilizing his heroine or otherwise resorting to lowest common denominator humor. Instead, he delivers a film that suggests there’s always an opportunity to experience something new in life, from the smallest observations to the most dramatic showdowns.

The most important lesson of all? Underestimate a determined older woman at your own risk.

Katie Walsh is a Tribune News Service film critic.

'Thelma'

Rating: PG-13, for strong language Running time: 1 hour, 37 minutes Playing: In wide release Friday, June 21

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7 New Books We Recommend This Week

Suggested reading from critics and editors at The New York Times.

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Today is the first day of summer, and what better time to read a handful of books about adventures — or misadventures? Our recommended titles this week include Kevin Fedarko’s “A Walk in the Park,” his good-natured romp about encountering bad nature on a trek through the Grand Canyon, along with David Nicholls’s novel about a happier hiking trip, Nicholas Kristof’s memoir of life as a roving reporter and Kassia St. Clair’s look at an epic intercontinental car race in the early days of the automobile. (You can’t even call it a road race, because along much of the route roads were nonexistent.)

On a more sober note, we also recommend Kim A. Wagner’s meticulously researched history of a forgotten military atrocity and Steven Johnson’s reconstruction of an era when anarchists and police forces duked it out in a battle of wits (and dynamite). In fiction, don’t miss Morgan Talty’s rich debut novel, “Fire Exit,” about a man exiled from the only land and culture he has ever known. Happy solstice, and happy reading. — Gregory Cowles

A WALK IN THE PARK: The True Story of a Spectacular Misadventure in the Grand Canyon Kevin Fedarko

Two friends — the adventure writer Fedarko and the photographer Pete McBride — decide to walk the length of the Grand Canyon. What could go wrong? As this wildly entertaining book demonstrates, everything you can imagine, and then some. Fedarko takes us for a ride that’s often harrowing, frequently hilarious and, always, full of wonderful nature writing.

“Fedarko doesn’t describe awe; he induces it, with page-turning action, startling insights and the kind of verbal grace that makes multipage descriptions of, say, a flock of pelicans feel riveting and new.”

From Blair Braverman’s review

Scribner | $32.50

THE INFERNAL MACHINE: A True Story of Dynamite, Terror, and the Rise of the Modern Detective Steven Johnson

From the 1880s to, roughly, 1920, anarchists were considered America’s greatest terror threat. And in telling the stories of Emma Goldman, Alexander Berkman, Peter Kropotkin and the policemen who pursued them, Johnson makes it clear that his real protagonist is dynamite itself. While this functions as a lively history of an era in its own right, it’s also a timely meditation on the nature of violence, protest and American society.

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