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follow the direction or money back…
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it is 5-6 pages in length
Critical Analysis – Watch a movie of your choice and write a Critical analysis of the film in 4-6 pages of text. After viewing a movie of your choice, you will complete the required summary paper previously mentioned in the syllabus. The critical analysis allows you to use many different rhetorical patterns to convince the reader of the merit, or lack thereof, of the film you are analyzing. Be sure to include the following: 5’w who, what, why, where, when, How…..
Running Head: THE CALL: CRITICAL ANALYSIS PAPER
1
The Call: Critical Analysis Paper
[Student Name]
[School]
[Course/Number]
18 November 2013
[Instructor Name]
This paper is about the critical analysis of a recently released movie named “The Call.” “The Call” which was a thriller story, had been released in theaters since March 15, 2013. Much critical interest targeting The Call will concentrate on yet another dubious choice made by Halle Berry when it appears to her post-Oscar career (an honor she got 11 years ago incidentally).
It was fair though irritating. Instead, The Call should be appeared at as another movie that really could have been fairly decent had the storytelling choices not signaled the whole movie into a series of faults, the finale being the most horrible offender.
In this movie, Halle Berry played the role of Jordan, a 911 police operator distressed by a mismanaged call from a teenage girl. When a comparable emergency comes months later, she intends to resolve the situation with his all right efforts. “The Call” begins with a bird’s eye outlook of the town and a montage of operators responding in 911 calls — some frivolous, some serious. Then the video which, if not anything additional, is briskly-paced — gets right to setting up the plot. Berry replies a dwelling attack call from a teenage young female and makes a secondary but critical error which directs to the girl’s kidnapping. The next day, her body is discovered in a superficial grave.
Berry’s colleagues make her to believe that such obvious error was not her fault, but she nonetheless resigns from responding to the call to aim on teaching new operators. Six months subsequent, she’s premiering an assembly of trainees through their first trip of the Hive
when a call arrives from a teenage young female (Abigail Breslin) who has been abducted and locked in the trunk of a car. The operator who replies doesn’t understand how to handle the call and veteran Berry reluctantly takes over.
Breslin interprets that she’s been apprehended from a shopping center parking lot by an unidentified man, and that the trunk she’s in holds a shovel — proposing that her abductor proposes to murder and entomb her. Of course, it doesn’t take a genius to understand that the man who has kidnapped Breslin is the identical one who abducted and murdered the teenage young female six months earlier.
Played by a twitchy, hammy Michael Eklund, he is a stock weirdo serial-killer type. He likes cheesy melodies (when Breslin wakes up in his trunk, he’s blasting Taco’s “Puttin’ on the Ritz”). He’s panicky and effortlessly spooked. For a friend who has an entire underground cottage dedicated to torturing fair-haired teenagers, he appears very badly prepared.
At the center of “The Call”‘s premise is the wireless telephone Breslin is calling from. It’s one of those bargains, pay-as-you-go disposables, which entails that the call center can’t find it. Also, the vehicle is in motion; neither Breslin nor Berry can pinpoint her location. Technical impossibility apart (disposable cell phones are traceable), it makes for a cool cat-and-mouse premise: Breslin and Berry should conspire to outwit the serial murderer without understanding precisely where he is or where he’s headed.
All it would take to succeed this conceit is a little filmmaking fantasy and a firm grab on the form. Unfortunately, “The Call” has neither. Much of the video is bland-looking and flat. The endless shots encircling Berry at her table as she screams into a headset produce monotonous.
The premise may propose claustrophobia, Berry attached at her table, Breslin attached in the trunk, but “The Call” is too spatially wonky to be tense.
Thrillers don’t make themselves; it’s a genre where a nonattendance of the method is synonymous with a nonattendance of entertainment. Anderson endeavors to flavor things up with some flashy flourishes, freeze-frames, for demonstration, but these manage nothing except to propose a filmmaker overcomplicating a straightforward problem. In numerous modes, “The Call” resembles Joel Schumacher’s “Phone Booth” (2002) another video with a powerful, straightforward premise wrecked by execution (interestingly, Schumacher was initially slated to direct “The Call”). However, “Phone Booth” was campy sufficient to be fun at least. The best “The Call” can organize is Eklund’s bug-eyed presentation, a part of portraying that’s less assessing psychopath and more freaked-out unpleasant causality.
Oddly, as the screenplay by Richard D’Ovidio, whose last borrowing was for the Steven Seagal/DMX vehicle “Exit Wounds” (2001) gets dumber, the video gets better, or more confident at least. The last act of “The Call” finds the video betraying its premise by having Berry project out of the Hive to find Eklund’s hideout and release Breslin. In this issue, “The Call” devolves into a grind house-style rape-revenge movie.
While passing this movie several actions of Halle Berry were being questioned. She created many problems for herself and the victim of danger along with producing the questions in the mind of viewers. Beyond the score, the problems start to mix as the finale draws near. While all movies have problems, whether it’s drawing on clichés, plot openings or story choices that give up certainty and aptitude for the sake of generating the story “work”, in this regard you are left too repeatedly asking the likes of, “Why would they act that?” “Where is the associated police team?” “Where is the helicopter going?” “Would they not have a K-9 unit?” and so on, and that’s all before Jordan moves on her individual sleuthing operation and you start shouting “Hit him once more!” and “Shut the door!” Then, the predictable “No Signal” shows on her mobile phone. It’s this type of tired storytelling that can drop a complete production.
The end of the movie is stupid and ethically dubious, even by exploitation video standards. However, it does permit Anderson to manage what he’s good at: orchestrating dark, claustrophobic horror. For its last fifteen minutes this movie increases above hackwork. Unfortunately, it doesn’t increase very far.
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�Need to reword… very boring introduction…. Need to be entertaining…catch the readers attention…..need revising.
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Running Head: THE CALL: CRITICAL ANALYSIS PAPER 1
The Call: Critical Analysis Paper
5
The Call: Critical Analysis Paper
[Student Name]
[School]
[Course/Number]
24 November 2013
[Instructor Name]
Did you ever throw your money on futile entertainment stuff? Did you ever waste your time in search of seeking a thrilling joke? Did you ever watch a blunder basket in the name of thriller movie? If no then, your this wish will be fulfill soon, if you watch “The Call.” Yes, you are right, “The Call” is a recently released thrilling blunder which was filmed on Halle Berry, a previous Oscar awarded actress. This movie let you towards lame thriller instances which have a very feeble approach to satisfy the real thriller seeking wish of the viewers. Instead, The Call should be appeared at as another movie that really could have been fairly decent had the storytelling choices not signaled the whole movie into a series of faults, the finale being the most horrible offender. Comment by S:
intend first line of paragraph Comment by S:
“in search of seeking” is awkward Comment by S:
comma belongs after “no” Comment by S:
“your this wish” is unclear, consider rephrasing Comment by S:
future perfect tense requires an “ed” on the end of “fulfill” Comment by S:
underline or place in italics Comment by S:
wrong preposition–it sounds like the whole movie took place on top of her Comment by S:
subject/verb agreement–and question on the verb, is it what you meant? Comment by S:
underline or put in italics Comment by S:
“should be appeared at” needs to be rephrased for clarity Comment by S:
“signaled” or “started” or ?
In this movie, Halle Berry played the role of Jordan, a 911 police operator distressed by a mismanaged call from a teenage girl. When a comparable emergency comes months later, she intends to resolve the situation with his all right efforts. “The Call” begins with a bird’s eye outlook of the town and a montage of operators responding to 911 calls — some frivolous, some serious. Then the video which, if not anything additional, is briskly-paced — gets right to setting up the plot. Berry replies a dwelling attack call from a teenage young female and makes a secondary but critical error which directs to the girl’s kidnapping. The next day, her body is discovered in a superficial grave. Comment by S:
indent the first line of each paragraph Comment by S:
word choice–similar? Comment by S:
Who is “his” referring to, and the phrase is awkward Comment by S:
something is missing here. Comment by S:
unclear phrasing
Unluckily, she is not a very good instructor as we arrive at the arbitrary “Six months later” symbolize films love to use. Now, the similar creep is taking place to his similar previous antics. Another teenage blonde girl named “Casey” who was filmed on Abigail Breslin, has been abducted and handled to get through to 911. Jordan who was instructing a group of new recruits near a call tracking system that was operating another 911 police operator, getting worried to have a similar call of teenage abduction, that she had mishandled already once before. When the call came, working operator was looking disturbed unnaturally and hence being making such weak instance Berry get involved. Comment by S:
indent first line of each paragraph Comment by S:
word choice–actually unnecessary also Comment by S:
‘a” instead of “the” Comment by S:
but not the same one? Comment by S:
this implies that the first victim was a blonde teenage girl. Comment by S:
If the name of a movie or show, underline or italicize Comment by S:
unclear phrasing Comment by S:
Problems with subjects and verbs in sentence–sentence structure is unclear. Comment by S:
article needed before “working” Comment by S:
can you be naturally disturbed? I’m not sure these words fit together Comment by S:
awkward phrasing.
Breslin interprets that she’s been apprehended from a shopping center parking lot by an unidentified man, and that the trunk she’s in holds a shovel — proposing that her abductor proposes to murder and entomb her. Of course, it doesn’t take a genius to understand that the man who has kidnapped Breslin is the identical one who abducted and murdered the teenage young female six months earlier. Comment by S:
intend first line of each new paragraph
Played by a twitchy, hammy Michael Eklund, he is a stock weirdo serial-killer type. He likes cheesy melodies (when Breslin wakes up in his trunk, he’s blasting Taco’s “Puttin’ on the Ritz”). He’s panicky and effortlessly spooked. For a friend who has an entire underground cottage dedicated to torturing fair-haired teenagers, he appears very badly prepared.
At the center of “The Call”‘s premise is the wireless telephone Breslin is calling from. It’s one of those bargains, pay-as-you-go disposables, which entails that the call center can’t find it. Also, the vehicle is in motion; neither Breslin nor Berry can pinpoint her location. Technical impossibility apart (disposable cell phones are traceable), it makes for a cool cat-and-mouse premise: Breslin and Berry should conspire to outwit the serial murderer without understanding precisely where he is or where he’s headed.
All it would take to succeed in this conceit is a little filmmaking fantasy and a firm grab on the form. Unfortunately, “The Call” has neither. Much of the video is bland-looking and flat. The endless shots encircling Berry at her table, from where she was worriedly guiding escape tactics to Breslin. However, beside continuous direction neither a single time her guidance to Breslin about her escape worked.
Thrillers don’t make themselves; it’s a genre where a nonattendance of the method is synonymous with a nonattendance of entertainment. Anderson endeavors to flavor things up with some flashy flourishes, freeze-frames, for demonstration, but these manage nothing except to propose a filmmaker overcomplicating a straightforward problem. In numerous modes, “The Call” resembles Joel Schumacher’s “Phone Booth” (2002) another video with a powerful, straightforward premise wrecked by execution (interestingly, Schumacher was initially slated to direct “The Call”). However, “Phone Booth” was campy sufficient to be fun at least. The best “The Call” can organize is Eklund’s bug-eyed presentation, a part of portraying that’s less assessing psychopath and more freaked-out unpleasant causality.
Oddly, as the screenplay by Richard D’Ovidio, whose last borrowing was for the Steven Seagal/DMX vehicle “Exit Wounds” (2001) gets dumber, the video gets better, or more confident at least. The last act of “The Call” finds the video betraying its premise by having Berry project out of the Hive to find Eklund’s hideout and release Breslin. In this issue, “The Call” devolves into a grind house-style rape-revenge movie.
While passing this movie several actions of Halle Berry were being questioned. She created many problems for herself and the victim of danger along with producing the questions in the mind of viewers. Beyond the score, the problems start to mix as the finale draws near. While all movies have problems, whether it’s drawing on clichés, plot openings or story choices that give up certainty and aptitude for the sake of generating the story “work”, in this regard you are left too repeatedly asking the likes of, “Why would they act that?” “Where is the associated police team?” “Where is the helicopter going?” “Would they not have a K-9 unit?” and so on, and that’s all before Jordan moves on her individual sleuthing operation and you start shouting “Hit him once more!” and “Shut the door!” Then, the predictable “No Signal” shows on her mobile phone. It’s this type of tired storytelling that can drop a complete production.
It would have been very suitable to state in the beginning, this film presented up an astonishing degree of R-rated adventures which were being spoiled throughout the passing of lame events and completely converted this movie in the end into a third-rate thriller which destined for the bargain bin and forgotten in a matter of days. The end of the movie is stupid and ethically dubious, even by exploitation video standards. However, it does permit Anderson to manage what he’s good at: orchestrating dark, claustrophobic horror. For its last fifteen minutes this movie increases above hackwork. Unfortunately, it doesn’t increase very far.
