Real-Life Communication -- Solution
Here's what your review could say:
"Tsunami,
by definition, is a great sea wave produced by submarine earth movement or
volcanic eruption, often creating a disastrous situation. Tsunami is a disaster
film, however, in more ways than one.
"The lead actor was the
only calm in the storm. He was able to portray a scientist perfectly, and
although he got no help from the script, he was believable. I have gained
a whole new respect for this actor -- it takes a real talent to create something
out of nothing.
"His lead actress wasn't as gifted. She spoke
her lines without expression and wasn't able to remember not to look at the
camera -- perhaps she was just making sure this really was being filmed. Except
for the fact that she was the producer's daughter, there was no "relative"
significance to her being chosen for the role. The good thing is that any
casting director who saw her in this film will know not to do it again.
"The cinematography wasn't spectacular, but the special effects
were. In fact, if you were to see this film at the theater, it would be only
for two things -- the special effects and the music. The soundtrack was truly
enjoyable, and you have to wonder if they chose the songs with the great bass
beats just to keep you awake. It worked for me. My recommendation: wait for
the video."
Film critics must be strong writers. But they
can often get away with having poor verbal and social skills, says freelance
film reviewer Dan Kois.
"You go to a screening, you sit
in a screening, you take notes, you go back to your house or office, you write
a review, you send it to your editor, and you maybe exchange one e-mail with
your editor," says Kois. "So film criticism and criticism in general -- the
actually writing process of it -- is a pretty anti-social and anti-communicative
thing to do.
"Very few film critics are in an office environment,
for example, where they have to navigate office politics and talk to a dozen
coworkers and deal with them and send memos and stuff like that," Kois adds.
"Even a staff film critic... who has a full-time salaried position as a film
critic for a newspaper or magazine is hardly ever dealing with that particular
environment. So you can sort of be an anti-social crank and still often be
a successful film critic."