1. Film Magazine reviews research.

2. What I was able to find
for my research
I went to my
local shop and
was able to find
these two
magazines, total
film and empire
film magazine.
These two of
Brittan's most
popular
magazines.

3. Total Film is a British film magazine
published 13 times a year (every four
weeks) by Future Publishing. The
magazine was launched in 1997 and
offers film, DVD and Blu-ray news,
reviews and features. It is one of the
largest circulation English-speaking
film magazines in the world. Guest
editors have included Peter Jackson,
Kevin Smith, and Ricky Gervais and
Stephen Merchant.
ABOUT

4. Comparing the two:
Like many film magazines, as well as print they also have online
versions, some other film magazines are solely based on the internet
however. As you can see total film is no different. On the left hand side is
the print magazine version the other one is the inline version. Although
they are for the same magazine they have different layouts.

5. About
Empire is a British film magazine
published monthly by Bauer Consumer
Media. From the first issue in July 1989,
the magazine was edited by Barry
McIlheney and published by Emap.
Bauer purchased Emap Consumer
Media in early 2008. It is the biggest
selling film magazine in Britain,
consistently outselling its nearest
market rival total Film and is also
published in Australia, Turkey and
Russia. Empire organizes the annual
Empire Awards which were sponsored
by Sony Ericsson until 2009 and are
now sponsored by Jameson The
awards are voted for by readers of the
magazine. 1989 cover

6. Comparing the two:
The is the same case for this magazine the layouts are
different, this is because the online magazine and the print one
have different features. The inline one has related items and
advert banners as well as opportunities to share the article on
social networking sites, as well as allowing, readers to leave
their own comments.

7. Language used in total film review
magazine
‘Put Melville's Le Samourai, Bertolucci’s The
Conformist and Antonioni’s The Passenger into a
big movie blender and you get The American, a
stylish throwback to the existential crime thrillers of
the ’70s.’
The language in this beginning sentence is
very creative and kind of comedic, and ,
introducing the film review by comparing it to
a mixture of two other well known films.

8. Put Melville's Le Samourai, Bertolucci’s The Conformist and
Antonioni’s The Passenger into a big movie blender and you get The
American, a stylish throwback to the existential crime thrillers of the
’70s.
Directed by Anton Corbijn (Control), it’s a thoughtful, solemn
character study that casts a mesmeric spell. Until the end, that is,
when – instead of delivering the dramatic climax we have been led to
expect – it takes an abrupt nose-dive into laughable pretentiousness.
Clooney is Jack, a melancholy hitman who – having survived an
assassination attempt in snowy Sweden – takes refuge amid the
cobbled streets and medieval architecture of Abruzzo, Italy.
Befriended by a philosophical priest (Paolo Bonacelli) and serviced
by a kindly hooker (Violante Placido), he starts to contemplate a
change of career. But when he’s called upon to build a rifle for
another killer (Thekla Reuten), it becomes clear his old life will be
harder to walk away from than he imagines.
Language
here is
basically just
explaining the
story , very
descriptive,
and formal,
however not
to the point of
queens
English but far
from slang,
which makes
it seem like a
an adult kind
of magazine.

9. There’s an admirable conviction to
the film’s austerity and formality, and
it’s courageous of the Cloone-
meister to so rigidly suppress his
natural charm. But the overall lack of
humor practically dares the audience
to provide their own.
Verdict:
Corbijn’s bold stab at reviving the
minimalism and mystery of ’70s
cinema has its strengths but
ultimately overreaches itself. Closer
to Michael Clayton than Ocean’s
Eleven, it’ll leave Clooney fans
divided.
The final paragraph is an small
overall view of the film, and
describing the characters feel
which is given to the audience.
Here we can see that the film is
more serious than comedic.
This last verdict, this is
solely the writer of the
article s opinion, and
what they think about the
attempt of the film, still
here language remains
quiet formal.

10. Language used in empire film
magazine.
Repetition can smother a
point, as well as
underscore it. The
American opens on an
image — beautiful, elegant
— and closes on a variant
of it. The world turns —
nature is implacable. So,
now you know.
Compared to the other one
the introduction paragraph is
mores descriptive of the film
immediately, rather than
bringing a little bit of opinion

11. The second feature from acclaimed photographer Anton Corbijn is concerned
with existential issues: chewy and important. It is also — like his debut,
Control — about a lost soul. And is quite unlike what many will expect from
an assassination thriller starring George Clooney. Though for a bloke who
comes over as carefree in interviews, Clooney has made an awful lot of
movies about mid-life crises, hinging on heroes who may have cause to
regret their emotions: Solaris, Syriana, The Good German, Michael Clayton,
Up In The Air and more. So, the big questions come: Is it safe to feel? Can
love redeem? How much time is Violante Placido going to spend starkers?
It’s not only her that’s exposed. And the thing about subtext is, really, it needs
to be under something. The American may not have a lot of dialogue, but it
sure has a lot of ‘text’. The. Words. Carry. Meaning. Every. One. Of. Them.
This may seem like a knock on Rowan Joffe’s screenplay (adapted from
Martin Booth’s novel A Very Private Gentleman), but it could say as much or
more about the director’s decision to shoot in a moody, meditative manner —
and cast characterful Euro faces who deliver dialogue as if it were carved in
stone. Amid the motion-sick pandemonium of a Bourne — or with more
verbally dextrous performers — the conversations might not have felt so self-
consciously weighty.
But Corbijn enjoys silence and master shots — the slow-build over the whizz-
bang. There are some terrific scenes — the shocking snow-bound opening,
the tense car-park face-off — but having a café TV play Once Upon A Time In
The West invites dangerous comparisons. The American definitely doesn’t
have Sergio Leone’s sense of fun.
.
Description
of actors
past films,
and his
performance
in the movie
Less description
of the film but
more about the
feel of the film
and the things it
involves, this is
good as
someone
wouldn’t want to
watch a film, if
they can find out
everything about
it just by reading
this article.

12. From what I have read I have found out
that a good article must include:
*a good opening introduction. The style of this does however varies
as we have seen depending on the style of the writer.
*ratings of the film, as well as a key above explaining the rating
system for example:
* The release date of the film:
This was taken from
empire magazines,
review page
This falls under film details, and
this includes things like the
release date the director and the
running time

13. • Film magazines also include other
features such as :
• Buzz off the week
• Games and competitions
• The big screen
• And other things depending on the type of
magazine.

14. I have decided after my research to
do a review for total film magazine.
This is because the style of writing
appeals to me and from previous
research I have found out that they
review more than just mainstream
films, and also focuses of small
productions from around the world.
the type of film we are making, (a
small budget, silent film,) I think this
magazine would be idea for our film
review. It is one of the largest
circulation English-speaking film
magazines in the world, which means
more coverage for our film.
What have I decided?