Tonatiuh Bieletto Textual analysis

Bourne Ultimatum 3rd Review analysis by Alfred Ademi

Empire film review by James Dyer  (Click link below for full review)

http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=117745

Review analysis by Alfred Ademi

The first paragraph is a brief plot about the film, this is to show the reader what type of film it is and what they can expect.
James Dyer begins the review by saying "Not long ago it would have been tricky to imagine Matt Damon, the twinkly-eyed lad from All the Pretty Horses, playing a convincing action star. But five years, three films and scores of broken bodies later, it’s now all but impossible to think of him as anything else" he is praising Matt Damon for his performance as Jason Bourne and that the film will not be the same without him.

In the third paragraph James Dyer talks about the setting of the film, then moves on and talks about the narrative of the film.  "Bourne has given up his attempts to hide from the government agency that created him, and instead seeks answers/vengeance for their, and his, past crimes" James Dyer tells the reader about the film and Jason Bourne’s mission. James Dyer continues to praise the narrative “Bourne has given up his attempts to hide from the government agency that created him, and instead seeks answers/vengeance for their, and his, past crimes" this suggests that the audience will be so hooked on the film they will forget about the time.

James Dyer has used formal language throughout the review. The way he has written the review is very easy to read and understand as it is written in chronological order. I think James Dyer should have written the review in informal for the general reader because Bourne Ultimatum has a certificate rating of 12A therefore informal would have been more appropriate even though the movie is targeted to a higher age group than 12.

James Dyer also mentions the settings on more detail. "globe-trotting screenplay ripples with invention, taking Bourne from Russia to Madrid, Paris, Morocco and ultimately New York" he is praising Tony Gilroy, Scott S. Burns and George Nolfi’s screenplay and how good it is. This navigation of different countries relates to 'Jason Bourne' as he tries to run away from police, this makes him run nearly around the world trying to look for his true identity.

"Damon, however, has grown into his character like a second skin" this tells the audience how good Matt Damon’s acting skills are and how much a part of the movie he is. This is similar to how James Bond is connected to the movie '007'. "Bourne is surely the most efficient killer Hollywood has ever produced" this is a very bold statement to make as there have been many films with killers including heroes and villains. Jason Bourne to be the  most efficient killer just emphasises how important this character is to the movie. By saying this, more people will want to go and see the film to see how he kills people and how good it is.

In conclusion the review is very effective in addressing the audience on how good the film is. There are no bad sides of the film in the review; this is reinforced by the 5 STAR rating James Dyer gave to the film on the verdict and stating that the Bourne Ultimatum is "The best blockbuster of the summer".

Bourne Ultimatum 2nd Review analysis by Alfred Ademi

Chicago Sun-Times [Roger Ebert]http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20070802/REVIEWS/70710008/1023

 [Roger Ebert] Review analysis by Alfred Ademi

Roger Ebert  engages the reader with he’s first sentence because of the clear form of repetition which is used, the sentence alone creates imagery to the audiences head and also gives a mini indication on what this review is about.

The reviewer makes he’s personal feelings towards the storyline very clear and cut by labelling it as ‘Doozy’ which is informal language , he then seems to expand on the basic feature of the story line in the most simplistic way which he does purposely to emphasise he’s own view and how rubbish it is.  Roger Ebert continuous to criticise the film “Some guy finds himself with a fake identity, wants to know who he really is and spends three movies finding out at breakneck speed” he refers to Jason Bourne as ‘some guy’ this further emphasise the hatred shown against the film.

On the 4^th paragraph the reviewer talks about the settings in the film  “a desperate hunt through, alphabetically, London, Madrid, Moscow, New York, Paris, Tangier and Turin” the use of the word “alphabetically” suggests that Jason Bourne travel through many different places on a quest to find his identity.

He then continues to talk about the narrative “he is proof that the CIA runs a murderous secret extra-legal black-ops branch that violates laws here and abroad” this shows the audience some of the plot of the movie and what they can expect.

The director, Paul Greengrass has “masterminding formidable effects and stunt teams”. Roger Ebert comment on the director and his use of different shots “amazingly long takes” suggesting that in most films long shots do not work propyl however in this one it was pulled off correctly .the long takes work because they are spliced together by invisible wipes  “which causes a such mind-blowing action that I forgot to keep track.” The reviewer tell the reader about 2 different long shots one found in the movie “Goodfellas” and one shown in Bourne Ultimatum.

Although Roger Ebert has been giving some negative feedback he actually liked the film. In the last paragraph he tells the reader “But why, if I liked the movie so much, am I going on like this?” then he suggests that the “action assaults you” then he goes on to say that it is boring. He is contradicting himself a lot throughout the review.

The rating that Roger Ebert has giving the film, even though he liked it was not an impressive score of 3.5 STARS. This is unusual for a film that has received numerous awards and worldwide critical acclaim.

Final Poster

Film Poster 2nd Draft

"The Bourne Ultimatum" Trailer- Alfred ademi

Textual Analysis- Bourne Ultimatum- alfred ademi

The Bourne Ultimatum
Release: 2007
Director: Paul Greengrass
Genre: Action, Mystery, Thriller

Bourne Ultimatum is the third instalment of the very successful Bourne franchise. ‘Jason Bourne’ who is played by Academy Award winner ‘Matt Damon’ is on a mission throughout the franchise to uncover his real identity, and this mission continues in this movie.

The story exists in several time frames, there are 2 stories in the movie, the story of Bourne being chased and the story of what happened to Bourne in his past which is shown to the audience as his flashbacks.

 Bourn Ultimatum begins as soon as ‘Bourne supremacy’ (2^nd instalment) ends. ‘Bourne supremacy’ finished while the character ‘Bourne’ was being chased therefore ‘Bourne ultimatum’ has no equilibrium because it immediately starts with a disruption, From the first frame the tempo is high, Bourne jumps out from a moving train because he is running away from police who are looking for him. This film does not completely follow Todrov’s equilibrium theory (of a film having the narrative follow a path of equilibrium, disruption then new equilibrium) because this film starts with a disruption instead. However we do see Todrov’s equilibrium theory in the first Bourne movie ‘Bourne Identity’.

After Bourne escapes the police in the first scene after jumping out of the train, he enters a building where he starts mixing chemicals and injects himself with it to take the pain out of his shoulder this is seen as an equilibrium as everything has gone back to normal however 2 police also enter the building and corner Bourne at this point Bourne has flashbacks of strong contemporary images that shock and disturb him, in typical Bourne style he kills one officer and spares the others life causing an immediate disruption as seen throughout the movie, Bourne casually walks of saying ‘my argument is not with you’ to the officer this leaves the audience thinking who is Bourne actually looking for?  After this Bourne enters a state of equilibrium and meets ‘Martin’ (Marie’s brother) again from the first Bourne film ‘Bourne Identity’. Martin asks Bourne where his sister is; Bourne replies ‘she’s dead’

When Bourne is on the train heading to London he is reading a special report. This is where we find out that he is looking for ‘Simon Ross’ at this point he has a 2^nd flashback showing Bourne trying to save ‘Marie’ who he fell in love with in ‘Bourne Identity’, there is also mysterious men in this flashback that keeps asking Bourne ‘will you commit to the programme?’ and shows them abusing Bourne, this sets the scene for the mystery that  Bourne wants to uncover about his past.

There is a sense of cat and mouse in this movie, there is a ‘villain’ chasing the ‘hero’ who is looking for his identity but at the same time protecting the ‘princess’

 Bourne ultimatum may be very complex and may not make sense to people who have not seen the previous ‘Bourne’ films. However there are no gaps in the narrative and no cliff-hangers therefore this film holds a closed narrative structure which the fans will find it very easy to understand as there is a clear beginning and ending to this film, whereas if this was a open narrative we will be left with a cliff hanger, open narratives are usually found in soaps such as ‘Eastenders’ where there is never an ending. There are elements of flashbacks in this film however the film is told in chronological order because the film all runs in order of which it happens, this is typical of an action film as most action films portrays the action as it happens.

There is also a sense Levi Strauss's binary opposition in this film. this is the contrast between two terms such as good/bad. In Bourne Ultimatum there is a contrast of truth and lies as 'Jason Bourne' does not know who he is and is looking for his true identity, and people are trying to prevent him from doing so therfore he is being kept away from the truth. furthermore, there are people that know the truth about 'Jason Bournes' true identity but they are lying.

Bourne ultimatum is set in many different cities in different countries such as London, Paris, Berlin, Madrid, Tangier and New York this movement of countries connotes Jason Bourne’s feelings and how he is always on the move and running away from people.

In the final scene of the film Bourne finally tracks the person who changed him and all the elements of Bourne’s past and present come together in on dramatic confrontation. Bourne is told everything that happened and how he was turned into a killer, this is shown to the audience by flashbacks. Bourne mentions that he ‘remembers everything’ he’s discovered the truth that he has been searching for throughout the ‘Bourne trilogy’. Bourne is later shot and falls into water, this is where Bourne was first found in the movie ‘Bourne identity’. His future is uncertain to the audience but in the mist of all the action Bourne begins swimming away, this shows us he is alive then the film ends. This ending shows a new equilibrium for ‘Jason Bourne’ as the police think he is dead. The audience are also satisfied by seeing Bourne uncover the truth about his identity.

The characters are typical of the action/thriller/mystery genre. The CIA team working in ‘the hub’ is very technical with a striking hi tech look with many secret agents following Jason Bourne by CCTV.  This is typical of the CIA, they also have ‘foot soldiers’ with Walkie talkies and guns ad’s further emphasises to the action genre. ‘ Noah Vosen’ the leader of the CIA is wearing smart suit with glasses and a ID card around his neck, he speaks very aggressively towards the staff this shows he is insecure however the facial expression shows that he is confident he will capture Bourne, then when Bourne starts killing his hunters Noah Vosen get very furious and his facial expression suggests he is now concerned that he cannot capture Bourne.

Bourne’s facial expression throughout the film is very calm as he has been ‘searching for his identity for 3 years’ therefore he has allot of experience. Bourne is always dressed in casual clothes to camouflage with the public so he is harder to find. He is also wearing a headset talking to people from his phone; this is to mislead the CIA as they will be looking for people who have a phone to their ear and Bourne.

The Bourne ultimatum won all 3 awards for best sound, best sound editing and best editing at the 80^th academy awards. The sound is typical to action genre as it is very fast passed and it abruptly starts every time a chase sequence begins. This style of sound editing is also seen in movies such as ‘Bad Boys’ and ‘Rush Hour’. In Bourne Ultimatum you can feel the sound from everything from doors, houses, cars and the detail from the colours and texture of walls and space. This is very effective to bring the film to life for the audience.

I think the cinematography is used very well in this film especially the hand held camera shots. Most of the movie seems to be recorded with a hand held camera, this world very well with this movie especially the fighting scenes as this was to emphasize the idea that‘Jason Bourne’ wasn't thinking. The hand held camera also worked very well on the rooftop chase in the city ‘Tangier’ were Bourne jumps through a window, and the camera follows the character all the way creating a great cinematic moment. The camera shots used in this movie also work very well with the editing and the fast short cuts used in the action sequences. The editing used show the best mastery of story, character, pacing and Intercutting between Nicky’s frantic escape from the assassins in ‘Tangier’ and Bourne running through the rooftops deserve an academy award. Choreography is very complex and very fast paced this delivers character the this action genre

Overall, there are various genre codes and conventions in the film which show the typical use of that genre. The use of mise-en-scene is very accurately used in the film.

Lockdown poster 1st draft - Nick

This is the first draft of our film poster

for 'LockDown'.

REVIEW

1st draft for the Review

Bourne Ultimatum 1st review analysis by Alfred Ademi

Alfred Ademi-- Bourne Ultimatum Poster analysis

Individual review Tonatiuh Bieletto

The Island

BY ROGER EBERT / July 22, 2005

"The Island" runs 136 minutes, but that's not long for a double feature. The first half of Michael Bay's new film is a spare, creepy science fiction parable, and then it shifts into a high-tech action picture. Both halves work. Whether they work together is a good question. The more you like one, the less you may like the other. I liked them both, up to a point, but the movie seemed a little too much like surf & turf.

The first half takes place in a sterile futuristic environment where the inhabitants wear identical uniforms (white for the citizens, black for their supervisors). Big-screen TVs broadcast slogans and instructions, and about twice a day everybody gathers before them for the Lottery. This sealed world, its citizens believe, has been created to protect them from pollution that has poisoned the Earth. There is, however, one remaining "pathogen-free zone," which looks a lot like a TV commercial for "The Beach." Winners of the Lottery get to go there.

Yeah, sure, we're thinking. But the citizens in the white suits don't think very deeply; "they're educated to the level of 15-year-olds," we're told. There was a time when that would have made them smarter than most of the people who ever lived, but in this future world education has continued to degrade, and we see adults reading aloud from Fun With Dick and Jane, a book that on first reading I found redundant and lacking in irony.

The true nature of this sealed world is not terrifically hard to guess; even those who failed to see through "The Village" may decode its secret. But the inhabitants are childlike and blissful, all except for a few troublesome characters like Lincoln Six Echo (Ewan McGregor), who wants bacon for breakfast but is given oatmeal. This inspires him to develop what all closed systems fear, a curiosity. "Why is Tuesday night always tofu night?" he asks his supervisor. "What is tofu? Why can't I have bacon? Why is everything white?" Then one day he sees a flying bug, where no bug should be, or fly.

Sidestepping some intervening spoilers, I can move on to the second half of the movie, in which Lincoln Six Echo and the equally naive Jordan Two Delta (Scarlett Johansson) escape from the sealed world, and are chased by train, plane, automobile, helicopter and hover-cycle in a series of special effects sequences that develop a breathless urgency. How the heroes manage to discover the underlying truth about their world while moving at such a velocity suggests they are quicker studies than we thought.

The movie never satisfactorily comes full circle, and while the climax satisfies the requirements of the second half of the story, it leaves a few questions unanswered. We wonder, for example, why a manufacturing enterprise so mammoth could have been undertaken in secret. Were government funds involved? We don't need to know the answers to these questions, it's true, but they would have allowed Bay ("Armageddon") to do what the best science fiction does, and use the future as a way to critique the present. Does stem cell research ring a bell?

"The Island" has certain special effects, not its largest or most sensational, that reminded me of the creativity in a film like Spielberg's "Minority Report." For example, little ladybug-like robots that crawl up your face and into your eye sockets, and transmit information from your brain before working their way through your plumbing and being expelled like kidney stones. I hate it when that happens. And consider the effective way CGI is used to show the actors interacting with themselves.

McGregor and Johansson do a good job of playing characters raised to be docile, obedient and not very bright. The way they have knowledge gradually thrust upon them is carefully modulated by Bay, so that we can see them losing their illusions almost in spite of themselves. Michael Clarke Duncan has only three or four scenes, but they're of central importance, and he brings true horror to them. Sean Bean has the Sean Bean role, as a smug corporate monster. And the beloved Steve Buscemi plays an important character who has brought all of his bad habits into the sterile future world.

Buscemi is an engineer, or maybe a janitor, and lives in what must be the boiler room. All closed systems, no matter how spotless and pristine, always have an area filled with rusty machinery, cigarette butts, oily rags, and a guy who reads dirty magazines and knows how everything really works. Even in "Downfall," the harrowing drama about the last days of Hitler, there was a boiler room in the bunker where Eva Braun and her buddies could sneak away for a smoke. The Buscemi character turns out to be surprisingly well-informed and helpful, but then again, if the plot had to depend on characters educated only to the level of 15-year-olds, we might still be in the theater.

Footnote (spoiler warning). It was a little eerie, watching "The Island" only a month after reading Kazuo Ishiguro's new novel Never Let Me Go. Both deal with the same subject: Raising human clones as a source for replacement parts. The creepy thing about the Ishiguro novel is that the characters understand and even accept their roles as "donors," while only gradually coming to understand their genetic origins. They aren't locked up but are free to move around; some of them drive cars. Why do they agree to the bargain society has made for them? The answer to that question, I think, suggests Ishiguro's message: The real world raises many of its citizens as spare parts; they are used as migratory workers, minimum-wage retail slaves, even suicide bombers. "The Island" doesn't go there, but then did you expect it would?

Chicago Sun Times

The review is written by Roger Ebert on July 22 of 2005. The review includes a brief overview of the film. It tells the audience of the running time, genre, actors, director and the crew. The way the review has been written is to inform and entertain the audience. The review has been written in chronological order, telling us what happens in the movie.  The overall tone of the review is light and humorous. Here is a quote that shows us this, ‘But the inhabitants are childlike and blissful, all except for a few troublesome characters like Lincoln Six Echo (Ewan McGregor), who wants bacon for breakfast but is given oatmeal.’ This quote tells us a bit about the characters. Roger Ebert talks about the movie in an informative way and makes a lot of comparisons with other movies. "The Island" has certain special effects, not its largest or most sensational, that reminded me of the creativity in a film like Spielberg's "Minority Report." He compares The Island with better films, and he doesn’t talk positively about the film. This quote shows us his views of the film. He makes more fun out of it. ‘If the plot had to depend on characters educated only to the level of 15-year-olds, we might still be in the theater.’ This shows us the tone of the review and how he builds a relationship with the audience by using humor.  By comparing the film with other movies the audience maintains interest in the review. The review also gives quotes of the film which will make the audience feel more involved with the film.

Individual Reviews - Die another day - Joannie .

Review - Die Another Day BY ROGER EBERT / November 22, 2002

Cast & Credits James Bond: Pierce Brosnan Jinx: Halle Berry Gustav Graves: Toby Stephens Miranda Frost: Rosamund Pike Zao: Rick Yune Q: John Cleese M: Judi Dench Mgm Presents A Film Directed By Lee Tamahori. Written By Neal Purvis And Robert Wade. Running Time: 123 Minutes. Rated PG-13 (For Action Violence And Sexuality). Printer-friendly » E-mail this to a friend »

I realized with a smile, 15 minutes into the new James Bond movie, that I had unconsciously accepted Pierce Brosnan as Bond without thinking about Sean Connery, Roger Moore or anyone else. He has become the landlord, not the tenant. Handsome if a little weary, the edges of an Irish accent curling around the edges of the Queen's English, he plays a preposterous character but does not seem preposterous playing him.




"Die Another Day" is the 20th Bond film in 40 years, not counting "Casino Royale." Midway through it, Bond's boss M tells him, "While you were away, the world changed." She refers to the months he spent imprisoned at the hands of North Korean torturers, but she might also be referring to the world of Bondian thrillers. This movie has the usual impossible stunts, as when Bond surfs down the face of a glacier being melted by a laser beam from space. But it has just as many scenes that are lean and tough enough to fit in any modern action movie. It also has a heroine who benefits from 40 years of progress in the way we view women. When Halle Berry, as Jinx, first appears in the movie there is a deliberate and loving tribute to the first Bond girl, Ursula Andress, in "Dr. No" (1962). In both movies, the woman emerges from the surf wearing a bikini which, in slow motion, seems to be playing catch-up. Even the wide belt is the same. But Jinx is a new kind of Bond girl. She still likes naughty double entendres (Bond says "My friends call me James Bond" and she replies, "Well that's a mouthful"). But in "Die Another Day" her character is not simply decoration or reward, but a competent and deadly agent who turns the movie at times into almost a buddy picture.


The film opens with an unusual touch: The villains are not fantastical fictions, but real. The North Koreans have for the time being joined the Nazis as reliable villains, and Bond infiltrates in order to--I dunno, deal with some "African Conflict Diamonds," if I heard correctly, but I wasn't listening carefully because the diamonds are only the MacGuffin. They do, however, decorate the memorable cheekbones of one of the villains, Zao (Rick Yune), who seems to have skidded face down through a field of them at high impact. A chase scene involving hover tanks in a mine field is somewhat clumsy, the hover tank not being the most graceful of vehicles, and then Bond is captured and tortured for months. He's freed in a prisoner exchange, only to find that M (Judi Dench) suspects him of having been brainwashed. Is he another Manchurian Candidate? Eventually he proves himself and after a visit to Q (John Cleese) for a new supply of gadgets, including an invisible car, he's back into action in the usual series of sensational stunt sequences. For the first time in the Bond series, a computer-generated sequence joins the traditional use of stunt men and trick photography; a disintegrating plane in a closing scene is pretty clearly all made of ones and zeroes, but by then we've seen too many amazing sights to quibble.


The North Koreans are allied with Gustav Graves (Toby Stephens), a standard-issue world-dominating Bond villain, whose orbiting space mirror is not exactly original. What is original is Gustav's decision to house his operation in a vast ice building in Iceland; since his mirror operates to focus heat on the Earth, this seems like asking for trouble, and indeed before long the ice palace is melting down, and Jinx is trapped in a locked room with the water level rising toward the ceiling. (Exactly why the room itself doesn't melt is a question countless readers will no doubt answer for me.) Other characters include the deadly Miranda Frost (Rosamund Pike), whose name is a hint as to which side she is on, and Damian Falco (Michael Madsen), whose name unites two villainous movie dynasties and leaves me looking forward to Freddy Lecter. Oh, and Miss Moneypenny (Samantha Bond), who seems to have been overlooked, makes a last-minute appearance and virtually seduces Bond.


The film has been directed by Lee Tamahori (whose credits include "Once Were Warriors" and "Mulholland Falls"), from New Zealand, who has tilted the balance away from humor and toward pure action. With  "Austin Powers" breathing down the neck of the franchise, he told Sight & Sound magazine, it seemed like looking for trouble to broaden the traditional farcical elements. "Die Another Day" is still utterly absurd from one end to the other, of course, but in a slightly more understated way. And so it goes, Bond after Bond, as the most durable series in movie history heads for the half-century. There is no reason to believe this franchise will ever die. I suppose that is a blessing.
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Joannie's Analysis :) -


This review was adapted from a reviewer from the Chicago Sun Times, called Robert Ebert. The review was adapted from his section of the website http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20021122/REVIEWS/211220302/1023 .


The reason for this review was to share across to an opinion to a wider audience about the movie. Robert Ebert is known for his honest opinions and doesn’t hide his opinions as he is a direct person. The review starts in a positive tone as Robert praises the new James bond (Pierce Brosman)
 ''... I realized with a smile, 15 minutes into the new James Bond movie, that I had unconsciously accepted Pierce Brosnan as Bond without thinking about Sean Connery, Roger Moore or anyone else. He has become the landlord, not the tenant.....''
This positive opening lets the audience know that the new actor of this James bond movie easily adapts into his new role and within the first 15 mins of the movie you would be disappointed as this new actor easily steps into place with this new role.
 The language the reviewer uses is very formal; he uses phrases like 'preposterous' or 'infiltrates'. Throughout this whole review there are no signs of slang what so ever; this shows that Robert may have been focusing on a niche audience of adults. If an old reviewer was to write in slang it would show a lack of intelligence and wouldn’t be show taken serious. So by using formal language it showed that the opinions that he wanted to be put across were substantial to him and would be taken serious by the audience.


Most reviewers tend to focus on just the narrative of the story , however In every paragraph the elements of film that Robert focuses on in narrative, previous history of a previous bond movie, the actors and special effects. Its very useful that he did as it shows the auidence that he a reviewer analyses more than just the narrative and focuses's on a wider view by looking at every aspect. When talking about the charcters and there roles Robert he uses a bit of sacasim "Oh, and Miss Moneypenny (Samantha Bond), who seems to have been overlooked, makes a last-minute appearance and virtually seduces Bond". By showing sacasim it shows that he is not only an uptight reviewer but has abit of humour.


Robert done his research before watching Die Another day this shown as he shows alot of background history on previous Bond movies.


When he ended the review it shows he wasn't really a fan of Bond movies as he described the movie as "Absurd" which was a contrast to his tone in the beginning of the review. However , he says in the end "i suppose that is blessing" that the Bond franchise is never going to end showing he has mixed emotions about it.


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Reviewer's Rating   User Rating

Die Another Day (2002)

Reviewed by Nev Pierce Updated 21 November 2002

After 40 years and in his 20th film, James Bond deserves a kick in the noughties. Kiwi helmer Lee Tamahori provides it.
The 90s saw the suave superspy become 007: licence to mildly entertain. In "Die Another Day", her majesty's finest regains his killer touch.
Sexy, funny and spectacular, Bond's first mission of the new millennium is one of the best of the series - not simply a great Bond movie, but a great Action movie, full stop. Yes, we were surprised too.
From the opening titles - the usual dancing girls, unusually intercut with the movie's action - Tamahori displays an admirable desire to get on with it.
In quick succession Bond is captured, tortured and sets out for revenge against North Korean renegade Zao (Rick Yune). He's soon facing off with Toby Stephens' sneering entrepreneur, foiling plans for world domination and getting jiggy with the mysterious Jinx (Berry) and Miranda Frost (Pike).
The script smartly pilfers ideas from the Bond back catalogue, mastering all the elements which make the old school outings great: sly in-jokes, preposterous action, clumsy innuendo and 'classic' (ie. very funny or outrageously cheesy) one-liners. It's a throwback which recalls the heights of both "Goldfinger" and "Live and Let Die", combining the cool of Connery with the frivolity of Moore, without ever descending into parody.
Plus, it reinstates the childish wow-factor at outrageous gadgets (an invisible car!) and terrific stunts (including an all-time great sword fight), blasting the veteran franchise into the 21st century.
If you want to pick nits, it's a set-piece too long, but let the sceptics be stilled: Bond is back and there's plenty of life in the old dog yet.

End Credits

Director: Lee Tamahori Writer: Neal Purvis, Robert Wade Stars: Pierce Brosnan, Halle Berry, Rosamund Pike, Rick Yune, Toby Stephens, Michael Madsen, Will Yun Lee, Judi Dench, John Cleese, Samantha Bond, Colin Salmon

Genre: Action, Thriller Length: 135 minutes Cinema: 22 November 2002 Country: UK/USA

__________________________________________________________________________________ Joannie's Analysis :) :
This review was adapted from http://www.bbc.co.uk/films/2002/11/09/die_another_day_2002_review.shtml
and was reviewd by Nev Pierce.

In comparison to the first review that i analysed, this review is much shorter
The reviewer rated the film 5 stars, which is the best rating to give a movie. In the first paragragh Nev

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3rd Review of Die Another Day

The Guardian.

Overview

• 
• Details: 2002, Rest of the world, UK, USA, Cert 12A, 132 mins, Action, Dir: Lee Tamahori
  With: Halle Berry, Judi Dench, Pierce Brosnan, Toby Stephens
  Summary: 007's latest mission takes him from the demilitarised zone between North and South Korea to Cuba via Hong Kong as he tries to foil a megalomaniac's plans for world domination. But a mole is undermining his efforts...

Our reviews

• Philip French

  Philip French: Die Another Day has been said to feature a more serious Bond... But there's not much here of the acerbic attitude to espionage that last year had Brosnan sending up Bond as a corrupt British agent in... The Tailor of Panama

• Peter Bradshaw

  
  Peter Bradshaw: Cheesier than Roquefort in the microwave ... It's as if Austin Powers never happened

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Date in print: Mon., Nov. 18, 2002

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Joannie's Analysis :)
This review was adapted from 'The Guardian' from two reviewers, Phillip French and Peter Bradshaw. This Review was really short but straight to the point. Many reviewers often mumble on when its easier to get straight to the point with the point they want to make.

This review was adapted from http://www.guardian.co.uk/film/movie/93584/die.another.day and it was reviewed by 2 reviewers called Philip French and Peter Bradshaw  .

individual review. Tonatiuh

IMDB Review

Review by: Keith Simanton

Starring: Scarlett Johansson, Ewan McGregor, Djimon Hounsou, Steve Buscemi
8 out of 10: Director Michael Bay's new action film, The Island, is a crackling good action movie but it can't keep its own momentum up, stumbling in the end, and reaching its dirt-caked-arms out in anguish at its goal, just a few feet away from being a great sci-fi action movie, nearing a Total Recall-comparison. You almost want to run out on the field, help it to its feet and say, "Good try."
Still, for the breadth of its running time The Island combines a gritty style with a Darwinian plot to create some thrilling sequences. It's all capped by a highway chase set piece (the "giant metal spool" scene shown in ads) that is really rather astounding and truly memorable.
Bay (Armageddon, Pearl Harbor) seems so inspired because he's got his teeth into the kind of screenplay (written by Alex Kurtzman, Roberto Orci and Caspian Tredwell-Owen, based on his story) that suits him best, a "kill or be killed" scenario that keeps the talk to a minimum and the frantic movement to a maximum.
Lincoln Six Echo (Ewan McGregor) has nightmares about going to the Island. It's odd because they start out on a nice boat, with a pretty girl, and suddenly he's drowning, surrounded by half-formed, hairless men who pull him down. When he wakes up his bad dreams have been noticed by the monitor in his room, and some unseen overseer puts him on food rations to cure any biological imbalance as evidenced by the bad REM time. Lincoln is one of a colony of people who live in a penned-up facility, hermetically sealed off from the outside. They've been rescued from the external world, a contaminated place that is so noxious not even insects have survived, and they have a simple, uncomplicated life. Their one shared dream is to go to "the Island" the last known un-contaminated place on the planet and they're chosen by lottery to go there.
Lincoln is attracted to his friend Jordan Two Delta (Scarlett Johansson), who has recently been selected to go to the Island, but the handlers of the facility don't let them get very close; they have to watch their proximity to one another. Lincoln's nightmares get him called up by Merrick (Sean Bean), the operator of the facility. Merrick is right to suspect something is up for Lincoln has become insatiably curious. Lincoln is trusted though and allowed to step into the outer corridor of the clean environment where he has befriended McCord (Steve Buscemi, essentially reprising his role from Armageddon), a kind-hearted maintenance guy.
Of course, the facility is not what it seems and Lincoln discovers that Merrick and his cohorts have sinister designs on him and his fellow inhabitants. They are all clones, grown as "insurance policies" to ensure that their "sponsors" on the outside have harvestable body parts. Lincoln and Jordan escape and discover that they're in the middle of Arizona in 2019 and the world isn't contaminated at all. With mercenaries from Merrick on their tail (led by Djimon Hounsou) they attempt to get to Los Angeles to tell the world about themselves and the hideous corporation that created them.
This scenario provides for a lot of action that could be called mindless but is exquisitely complicated and beautiful in its execution. I have a habit of jumping and flinching when a stunt looks particularly realistic and I jumped and flinched a lot in The Island. Several of the bad guys are hit with pipes, wrenches, etc. and the sound effects and editing give some fine wincing moments.
Much of the film harkens back to other films such as Capricorn One, Logan's Run but doesn't copy from them directly. The clones are fully matured but they're only a few years old; they're naïve innocents. This interesting take makes what could have been a hard-to-swallow first act more easily digestible. The clones don't quite get that there's something wrong with their situation (Hey, why are there people in black suits who supervise us?) but we do and quickly. Bay, for once, lets the audience make leaps before his characters and then anticipates what the audience is thinking and doesn't help the stragglers who haven't figured it out yet. It's a monumental step in his career.
But people don't go to Michael Bay films to circumvent the tropes the cinema. They're there for the big booms and Bay pays off and more, and then provides annuities. The signature chase sequence, wherein Jordan and Lincoln hide out on a tanker hauling metal spools and release the straps that hold them, provides about a gasp every other second. Bay and his filmmakers make an action sequence for the record books.
The Island also provides-gasp-some moral complications as well. A clone mother has a baby, then is euthenized in the birthing room. The baby is then handed over to an expectant (and from all appearances loving) couple in another room. The sponsors are the clones only hope because they're the only ones who can prove what has happened at Merrick, but these are people who are doing exactly what the clones are doing, trying to survive. When Jordan attempts to contact her sponsor she discovers she's a model in a coma from an accident and accidentally gets the model's child on a two-way visual tele-phone. "Mommy?" the kid queries, when he sees her face, leaving Jordan to realize that she's consigning her sponsor to death. It's good stuff.
But the finale of the film feels as restructured as Cher's face. The biggest service the two escaped clones could provide, to alert the world of the acts behind the Merrick corporation (Merrick has always said that it harvests organs from stand-alone chrysalis that have no sentience, no feelings), gets shuffled off for the bigger, and riskier feat of returning to free their fellow clones.
McGregor is fine as Lincoln but he's actually much looser, and more interesting, as his sponsor, Tom, a renegade designer and engineer whose life of unprotected sex has left him with a kidney doomed to failure from hepatitis. Johansson is Kewpie-doll cute and Jordan is correspondingly blithely unaware of what's going on (her version of street smarts is buffaloing the cafeteria lady). One wants more backbone, more instinct coming from such a hunted creature but she reacts as if they're playing a very mean version of a video game.
As far as satisfying action flicks go, The Island keeps up with some of the best of them but, as if looking to the sidelines to hear the advice of its coach, trips over its own feet, missing out on the chance to be a great action flick as well.

IMDB Review

This review was written by Keith Simanton. He starts talking about the film straight away and giving his opinion. ‘a crackling good action movie but it can't keep its own momentum up’, shows that he uses a light tone throughout the review. The review is written in a manner to entertain the audience and inform them about the movie. Words like "Good try" and "kill or be killed" are words that will entertain the readers. The reviewer concentrates on the director of the film telling us about his intentions and his skills. “Bay (Armageddon, Pearl Harbor) seems so inspired”. He also links the director with other of his films to make the audience aware of the director’s line of films. The review doesn’t give a chronological order of the film. It starts of telling the audience about the most exciting thrilling sequences in the film. Then after he starts giving a more detailed summary of the film, telling us about the events in chronological order. The use of language shows us that he is addressing a younger mature audience. “It's good stuff”. The reviewer keeps the audience interested with humor mixed with his own opinions, “But the finale of the film feels as restructured as Cher's face”. We also hear about the main actors in the film and about their roles.

individual review. Tonatiuh

The Island

By JUSTIN CHANG

Ewan McGregor and Scarlett Johansson are clones on the run in Michael Bay's futuristic actioner 'The Island.'

A DreamWorks release of a DreamWorks and Warner Bros. presentation of a Parkes/MacDonald production. Produced by Walter F. Parkes, Michael Bay and Ian Bryce. Executive producer, Laurie MacDonald.
Director, Michael Bay. Screenplay, Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci, based on a story by Tredwell-Owen.

Lincoln Six Echo/Tom Lincoln - Ewan McGregor
Jordan Two Delta/Sarah Jordan - Scarlett Johansson
Albert Laurent - Djimon Hounsou
Merrick - Sean Bean
Starkweather - Michael Clarke Duncan
Jones Three Echo - Ethan Phillip
Carnes - Max Baker
McCord - Steve Buscemi
 

"The Island" is no paradise. In his latest exercise in sensory overkill, producer-helmer Michael Bay takes on the weighty moral conundrums of human cloning, resolving them in a storm of bullets, car chases and more explosions than you can shake a syringe at. Frenetic actioner about refugees from a genetic cloning plant starts off intriguingly, burns up its ideas in the first hour and pads out the rest with joltingly repetitive action sequences. Given Bay's built-in, mostly male audience, DreamWorks and Warner Bros. look to harvest decent if not spectacular opening returns, though specimen's long-term viability is far less assured.

It's the year 2019, and Lincoln Six Echo (Ewan McGregor) is one of several hundred survivors of a cataclysm that left the whole world contaminated, save one place -- the eponymous Island. This lush retreat, Lincoln and the other refugees are promised, will one day be their home. For now, they're kept in a lavish but sterile research facility, where authorities force them to wear identifying wrist bracelets; their moods, diet and metabolism are carefully monitored; and male-female "proximity" is strictly forbidden.
Suspicious by nature and prone to prophetic nightmares, Lincoln finds his worst fears confirmed after Starkweather (Michael Clarke Duncan), selected by random lottery to go to the Island, instead winds up on a slab. When his friend and burgeoning love interest, Jordan Two Delta (Scarlett Johansson), is the next one to win the lottery, Lincoln grabs her and together they stage a jailbreak. Alarmed by the breach, sinister mastermind Dr. Merrick (Sean Bean, adding another to his gallery of villains) hires a mercenary (Djimon Hounsou) to hunt them down.
One of the small charms of "The Island" is that its test-tube protags, far from being hardened heroes, are a pair of brainwashed innocents, sealed off from the outside world and generally lacking in social smarts. McGregor exploits this most winningly, affecting an earnest gee-whiz streak and speaking his lines in a boyish, slightly higher register.
Faring not so well is Johansson, usually the subtlest of actresses, who in her first major action role has been encouraged to make a shrill, bombastic spectacle of her character's cluelessness.
Another downside of Lincoln and Jordan's ignorance is that by the time they realize what's up -- that they're walking "insurance policies," raised only to supply organs for their genetically identical owners -- auds will have long since figured everything out.
While the essentially surprise-free narrative plays catch-up, there's little to do but sit back and admire Nigel Phelps' gleaming production design; the biotech facility, in particular, suggests a cross between a day spa, a spaceship and a maximum-security prison. Yet even here, Bay's direction zips along at such an unmodulated rush, so eager to get on with the next set-piece or expository line of dialogue, that auds will have precious little time to soak up the images, much less allow their potentially troubling implications to deepen and resonate.
Setting and premise conjure countless visual and thematic echoes from other films, including "The Matrix," with its paranoid dystopian vision and roomful of sticky birth-pods, and even "The Truman Show," with its 24-hour surveillance cameras and megalomaniacal controller. One scene, featuring an army of mechanized, eye-scanning spiders, is lifted straight out of the more convincingly futuristic "Minority Report."
The references feel thoroughly secondhand; Bay ultimately is interested in the science and ethics of cloning only insofar as they provide a backdrop for all the vehicular chaos he's set to unleash. (Ancillary moral: Clones are human, too.)
In terms of spectacle, pic is a pileup of kinetic mayhem, as Lincoln and Jordan's first actions in the real world include dodging bullets, destroying several police cars and crashing a hovercraft into a skyscraper.
Yet for all the vertiginous camera movements and ace visual effects, the action remains tension-free and largely incoherent, thanks to attention-deficit editing by Paul Rubell and Christian Wagner.
Scribes Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci save their best lines for the superbly snarky Steve Buscemi, as a facility staffer who comes to the clones' aid (and has a priceless exchange with "Ghost World" co-star Johansson in the process). And pic has sly fun with Lincoln's and Jordan's "owners"; former is played by McGregor in an effective second role, while latter is glimpsed in Johansson's real-life Calvin Klein ad. Other product placements, particularly by Aquafina, are too numerous to mention.

Camera (Technicolor prints, Panavision widescreen), Mauro Fiore; editors, Paul Rubell, Christian Wagner; music, Steve Jablonsky; production designer, Nigel Phelps; supervising art director, David Sandefur; art directors, Jon Billington, Sean Haworth, Martin Whist; set decorator, Rosemary Brandenburg; costume designer, Deborah L. Scott; sound (Dolby Digital/DTS/SDDS), Peter J. Devlin; supervising sound editors, Per Hallberg, Karen Baker Landers; visual effects supervisor, Eric Brevig; special visual effects and animation, Industrial Light & Magic; assistant director, Josh McLaglen; stunt coordinator, Kenny Bates; associate producers, Steven P. Saeta, McLaglen, Bates, Heidi Fugeman Lindelof, Matthew Cohan; casting, Denise Chamian. Reviewed at AMC Century City 14, Los Angeles, July 9, 2005. MPAA Rating: PG-13. Running time: 136 MIN.

WWW.VARIETY.COM  BY Justin Chang

The review was written by Justin Chang, for www.variety.com, on the 10^th of July 2005. The review includes an overview of the film, giving us information about the characters and the storyline. The review is written in an informal tone with words like ‘auds’, as a short way of saying audience, and ‘realize what's up’. Using informal words will create a relationship with the target audience, as the target audience will feel comfortable in the writing style in which the review is written. The review talks about the film and also uses words from the film to familiarize the audience with the movie. For example the quote, ‘male-female "proximity" is strictly forbidden.’ shows the audience about the movie and what is involved. The reviewer explains to the audience how the main actors fit their role in the film and how well they act. ‘McGregor exploits this most winningly’.