An example of a movie review. positive.

A: I agree with all the accolades, I went through a box of tissues watching this film. It had a gritty authenticity and rang true in every way.

The question I'm about to raise represents a current sensibility regarding the treatment of animals. I had a very difficult time with the beginning slaughter of sheep and goats, and the dying deer with its pulsing neck and pooling blood as its life drained away was hideous.

This is the age of "no animals were hurt in the production of this move." Iphigenia was made in the late 70's before the advent of computer simulation. Was it possible to fake these animal deaths? Or were these animals slaughtered for art?

An example of a movie review. negative.

A: This movie is not just bad, not just corny, it is repulsive. Something about Daphne, about the creepy call-girl, about the whole damn (and I use the word literally) film radiates a grotesquery that would offend a brothel mistress. This film makes my skin crawl, makes me regret having reproductive organs, and makes me feel unclean.

One of the things that bothers me most about this movie is that they used such a good concept. A creature that makes fantasies with disastrous results, rather than the cliche Worst Nightmare and the overdone Twisted Wish, is a truly fascinating film idea.

Thought: The reason why hobgoblins need to be killed before day is that they are attracted to bright lights. During the day, bright lights don't show up well, so they could go anywhere.

Count the Hobgoblins: Four hobgoblins drive out of the film studio, and yet at least nine of the pernicious plush-toys are killed throughout the course of the movie.

Discussion Question: If you had a frigid, demanding, unappreciative girlfriend, would you enter garden-tool-combat with a military chunkhead? Explain.

An example of a movie review. positive.

A:
Anyone new to the incredibly prolific Takashi Miike's work might want to think twice about making this startling film their first experience of this truly maverick director. In keeping with Miike's working practice of taking any work that comes his way and then grafting his own sensibilities onto the script, this is at heart a fairly basic yakuza thriller, with a morally ambiguous cop chasing a gang which his lawyer brother has fallen in with. What takes the movie out of the realms of the same-old same-old however, is the utterly unflinching attitude so some of the most sudden and horrific violence seen in today's cinema. And this isn't that nice cool, clean violence so beloved of US cinema - this stuff is nasty, painful and HURTS! That said, the pace is breakneck, the characters are unusual without being just being burdened with stock eccentricities, Miike's sense of humour reveals itself and the most unexpected moments, and his camera is never quite where you expect it to be, making it hard to look away from the screen, whatever he might be showing you! It doesn't have the "Ohmigod" ending of "Dead Or Alive," but if you're not squeamish, now's the time to get on board the Miike bandwagon before he ends up on some Hollywood studio's "new John Woo" shopping list...