She's Gotta Have It

Bruckner, D.J.R. "She's Gotta Have It." New York Times 8 Aug. 1986. New York Times, 8 Aug. 1986. Web. 18 Apr. 2010. .

Bruckner claims in this article that while the storyline to the movie is excellent, the technical aspects are often messy. The sex scenes are humorous in ways Spike Lee did not intend for them to be. In addition, this author thought that the lead, Nola Darling, was unconvincing at times. For example, he says that her character was too intelligent not to realize that her strive to be independent was counterproductive towards what she really wanted. This movie review mostly focuses on the technical aspects of the movie, such as the use of black and white and the still shots from the sex scenes, but also addresses the motives behind each character.

Henderson, Eric. “She’s Gotta Have It: Review.” Slant Magazine. 14 Jan. 2008: . Print

http://www.slantmagazine.com/dvd/review/shes-gotta-have-it/1267

Sting Magazine writer Eric Henderson provides a seemingly sarcastic critique and character analysis in his review of She’s Gotta Have It. He describes the movie as ‘cheekily dialectical’ and points out all the negative character traits in Nola’s suitors. E. Henderson also describes the scenes as free form and improvisational as far as the monologues appear. Another important point is that the black and white cinematography is used to focus on the characters rather than the scenery.

Henderson, Stuart. “She’s Gotta Have it” Popmatters Magazine. 14 Jan. 2008. Print.

http://www.popmatters.com/pm/review/shes-gotta-have-it/

Henderson claims that Spike Lee’s She’s Gotta Have It is daring and intellectual pseudo- documentary of Nola Darling and her three lovers. Henderson analyzes Lee’s first influences in film and supports his observations with the quote “a very young filmmaker’s combination of fresh, innovative techniques and blatant borrowing from his forebears.” Henderson also writes about Spike Lee’s digression of subtlety in is later works when he addresses racial issue. She’s Gotta Have It has references but is not nearly as aggressive as Do the Right Thing. This particular movie also features characters based on people that Spike Lee has actually known.

Murray, Noel. "She's Gotta Have It." AV Club. Onion Inc, 12 Feb. 2008. Web. 18 Apr. 2010. .

This critic’s claim is that the movie uses female sexuality and poorly shot sex scenes to compensate for the film’s lack of story. However, She’s Gotta Have It promoted a new type of black film in which black life was no longer examined through the theme of crime and poverty. One of this critic’s main arguments is that he enjoys Spike Lee as a director because of the artistic style of the movie especially in spite of the low budget, but does not see him as a good writer because, in Murray’s opinion, the movie has a poor storyline.

Nicolas, Rapold. “The Rise of Brooklyn’s Great Street Artist.” The Sun: New York. 15 Jan. 2008. Print. http://www.nysun.com/arts/rise-of-brooklyns-great-street-artist/69545/

Rapold believes that She’s Gotta Have It is very different from Lee’s other production and studies the different ideas of masculinity. The movie also analyzes Nola’s struggle of self ownership in the face of men wanting to ‘own’ her body. Rapold further analyzes the characteristics of the three men: Jamie who is kind but boring, Mars immature but confident, and Greer, cocky but fun. It becomes apparent that combined the three would make the perfect lover for Nola. Rapold mentions elements of New York like the Brooklyn Bridge and Knicks quotes that are a stamp of Spike Lee’s personal taste.

Variety Staff, comp. "She's Gotta Have It." Variety 1 Jan. 1986. Reed Elsevier Inc. Web. 18 Apr. 2010. .

The critics in this review call the movie “a flawed attempt to examine an independent young woman of the 1980s.” They go on to imply that the movie’s theme of a young woman trying to find herself is too prominent, almost to the point of being cliché. This article makes little mention of the artistic style of Spike Lee except that his movie was decent considering the small budget. The main focus of the article is the analysis of the characters of Nola and her suitors. Overall the article argues that the movie was poorly made, however the characters were compelling.

Unit Three Final

For the semester’s final project, you and a partner will deliver a ten-minute presentation regarding the movie you have selected. While there is no set topic for your presentation, it is imperative that your presentation have a defined focus or argument.
Sample topics include (but are by no means limited to):
-Camera technique
-Theme (race, gender, sexuality, etc.)
-Genre
-Narrative
-Music
-Politics
You must incorporate film clips into your presentation. The clips should connect clearly to your argument or focus. If you need instruction on how to prepare this aspect of your presentation, you must make a reservation at the Media Resources Center by contacting via e-mail at mrc@unc.edu, on the phone at (919)-962-2559, or in person. Their hours are 8-9:45 Monday-Thursday; 8-445 Fr; 2-9:45 Sunday.
Presentations begin next week.

Sam and Melvin's Annotated Bibliography: Mo' Better Blues

Annotated Bibliography
Benzon, Bill The Valve: A Literary Organ. The Valve, 2 Dec. 2007. Web. 18 Apr. 2010
.

This source is a not just a film review, but a critical literary analysis of Mo’ Better
Blues. We will be able to use this to help shape our argument about the content of
the film’s message. Not only does this piece analyze the meaning behind the plot
and key scenes, but it also takes a look at the inner workings of the characters.
The author makes connections between the major players in the story and classic
character types in order to analyze their purpose in carrying the film’s message.

Ebert, Roger. "Mo' Better Blues." Chicago Sun-Times 3 Aug. 1990: n. pag.. Web. 18 Apr.
2010 .

Roger Ebert is a well-known movie critic who is infamous for being extremely harsh on movies he doesn’t like, or even parts of movies he doesn’t like. Where other critics give praise, Ebert will likely give criticism, so his perspective should contrast with that of some of the other reviews. This different opinion will give us a more well rounded idea of the movie in combination with the other sources.



Gleiberman, Owen. "Movie Review: Mo' Better Blues." Entertainment Weekly 3 Aug.
1990: n. pag.. Web. 17 Apr. 2010. .

In this Entertainment Weekly review of the film, the author is impressed by some
aspects of the film and left wanting more by others. His overall grade of B- shows
that he didn’t hate it but he also didn’t love it. Beyond the typical film review, the
author describes that while in previous films Lee dealt with topics such as race
and attitudes, Mo’ Better Blues goes further to deal with interpersonal human
emotions and the struggles created by our feelings.

Hicks, Chris. "Mo' Better Blues." Deseret News [Salt Lake City] 13 Aug. 1990: n. pag..
Web. 18 Apr. 2010 Blues.html>.

This review from the Deseret News in Salt Lake City is far from flattering.
The author feels that this film fell short coming off the heels of the huge success
of Do the Right Thing. Although he does criticize many aspects of the film, the
author does provide some interesting analysis of some of the characters, namely
Giant (Spike Lee) and Indigo Downes (Joie Lee). Unlike a lot of reviews that are
quick to praise Spike without providing evidence, this source is not afraid to
attack possible shortcomings. This will give us balance in our sources.

James, Caryn. "Spike Lee's Middle Class Jazz Musician." New York Times 3 Aug. 1990:
11. Web. 18 Apr. 2010 A966958260>.

This New York Times film review of Mo’ Better Blues is very interesting in that
it calls the film conventional. Conventional films are far from what Spike Lee is known for, and this author goes so far as to suggest that the film is done in a typically Hollywood fashion. This source was the probably the most scathing of any of the reviews in the list, which isn’t strange for the New York Times. While the author does go to great lengths to point out some of the film’s flaws, she doesn’t just attack the film. There is also analysis of the major characters, particularly Bleek’s female interests.

Norment, Lynn. "'Mo' Better Blues': Backstage with Spike Lee and the Cast." Ebony Sep.
1990: 76-78. Web. 17 Apr. 2010. .

This article from the September 1990 issue of Ebony magazine contains an
interview with Spike Lee and stars Denzel Washington and Cynda Williams.
Spike Lee provides insight into what he had in mind for the movie and what it is
about to him. There is also a brief plot synopsis that is interspersed with
comments from the director. This will be helpful because it isn’t just a movie
critic’s interpretation but what the director actually meant the film to be.

He Got Game -- Ben and Mariella

Annotated Bibliography- “He got Game” by Spike Lee

Muslin, Janet. "The New York Times Log In." Movie Reviews, Showtimes and Trailers - Movies - New York Times - The New York Times. 1 Jan. 1998

Janet Muslin focuses mainly on how Spike Lee leans on his very strong characters and bold imagery to provide the force behind this film. She touches only briefly on the plot itself, mostly because this film, as well as many others by Lee, doesn’t necessarily need it to captivate his audience. She gives a lot of credit to Denzel Washington for his role in the movie. He typically plays a charismatic patriarch with mass appeal whereas here he pulls a complete reversal and plays the loser father who is trying to leech onto his son’s success. Muslin points out how this movie contains the common Lee motif of his protagonist being placed in a situation in which he is being pulled in opposite directions and must make a difficult decision. Overall, she believes the film signifies Spike Lee’s return to producing very powerful and haughty films.

Tatara, Paul. "CNN - Review: Lee at Top of Game with 'He Got Game' - May 5, 1998." CNN.com - Breaking News, U.S., World, Weather, Entertainment & Video News. 5 May 1998.

Paul Tatara gives a very critical review of this film; he admittedly is not necessarily a fan of Spike Lee. Although he does say that this is perhaps Lee’s best film, he is quick to point out its flaws. He says that it suffers from the issue of Lee trying to make so many points and convey so many messages and once that the film becomes cluttered and difficult to decipher. He agrees that Lee is great with his visuals, but disagrees that this alone is enough to carry the film. He credits a void of passionate directors for Lee’s public appeal and success. He seems to lack objectivity it his review, catering mostly to push his personal dislike for Lee’s style. Tatara agrees that Denzel is the most powerful actor, but believes that the current NBA star Ray Allen who plays Denzel’s son give a “nervous, flat” performance. In his opinion this weak acting couples with subpar screenwriting to really hold this movie back.

Levy, Emanuel. "He Got Game." Variety Movie Reviews (1998): 1. Film & Television Literature Index with Full Text. EBSCO. Web. 19 Apr. 2010

Emanuel Levy focuses the first half of his article on a simple synopsis of the film. This makes his critique seem much less insightful than others because of this. He explains how the corruption and exploitation of student athletes I this country is explored by the film. Levy ultimately agrees with the popular sentiment that the weak screenplay and poor plot drag this movie down. He also believes that Spike is trying to make too many points for a single film, but his uniquely flamboyant visuals work to counteract conceptual shortcomings. I think this review lacks an effective analysis of the characters calling Denzel’s performance “solid,” but essentially stopping there. This is the first review I have seen that praises Ray Allen for his performance and claims it to be “an utterly convincing performance that draws on his youth and vulnerability.”

McDonagh, Maitland He Got Game Review. TV Guide, 1998. Web. 18 Apr. 2010

http://movies.tvguide.com/got-game/review/132905

Maitland McDonagh begins the review with a synopsis of the overall film. This Spike Lee creation begins with a young and talented basketball player named Jesus who lives in a broken family because his mother is dead and his father is in jail for the murder of his mother. The conflict then arises when the governor offers to reduce the Jake’s (played by Denzel Washington) sentence if he convinces his estranged son to attend the governor’s alma mater. After the synopsis the critic McDonagh analyzes the performance of Ray Allen who plays Jesus in the film, McDonagh highlights that Allen surprisingly stood his ground during scenes with Denzel but also played a subtle role in scenes with Zelda Harris. Although the McDonagh enjoyed the performances, he believes that the jazz music was not the most fitting for the film because of the “specific historical and aesthetic associations.” Overall, the critic believes that the film was emotionally touching because the controversial issue did not overpower the drama of the film.

Ebert, Roger He Got Game. Chicago Sun-Times, 1 May 1998. Web. 18 Apr. 2010

0304/1023>.

Ebert begins the review with praise for Spike lee. He notes that Spike Lee is rare filmmaker who reminds us all that films aren’t only about the dialogue but also about the images that the audience is introduced to. With this introduction, Ebert emphasizes how Lee may have possibly taken an easy route by showing the viewers a montage of NBA clips but instead he chooses to show American children from different social, economical and racial backgrounds. Ebert interprets this as a way for Lee to show us the power of basketball and the love for the game that we all have. He goes on to analyze different scenes of the film and concludes that this film wasn’t about winning or sportsmanship like many believe but about capitalism. In the end, He deems the film a success and a win for all parties (both the viewers and characters).

Stack, Peter Lee Plays Uneven 'Game'. San Francisco Chronicle, 18 Sep. 1998. Web. 18 Apr.

2010 .

Peter Stack finds himself in the middle with this film review. He mentions that the drama and story create an emotionally riveting film, but that the dialogue and sexual scenes retract from the purpose of the film. Stack believes that the message of this film is most important for the young members of our society, but the fact that the scenes are very crude and sexually explicit block the young audience from a great film. Ultimately, Peter Stack praises Denzel Washington and Ray Allen’s capability to complement one another on screen; he also highlights Lee’s ability to show a message of integrity and hard work through the obsession of basketball.

Zac and Kenneth - Annotated Bibliography

Bogle, Donald. “Chapter 10: The 1990s: New Stars, New Filmmakers, and a New African American Cinema.” Toms, Coons, Mulattoes, Mammies, Bucks: An Interpretive History of Blacks in American Film 2001: p.324-433. Web 19 Apr 2010. .

In this article, Donal Bogle looks at how the portrayal of blacks an American film has developed and transformed and how it may continue to change. He highlights the change in political views, social drives and emergence of the new style of cinema in the 1990s present in movies such as Spike Lee’s Clockers. Bogle discusses how African Americans filmmakers created this new kind of cinema which placed a heavy emphasis on their culture. The new filmmakers and new stars helped to divert the African American cinema toward this new and more truthful direction. Bogle thinks the change in the style and presentation of these movies has helped to create a more truthful and influential film for its viewers.

Chan, Kenneth. "The Construction of Black Male Identity in Black Action Films of the Nineties." Cinema Journal. 37.2 (1998): 35-48 . Print.

Kenneth Chan’s review of Spike Lee’s Clockers analyzes how this film is different from similar movies of t this genre that attempt to explore and understand the African American male dilemma. Chan discusses the characterization of the black male and argues that to some extent, his character – that of an African American male- is supposed to calm and reassure an uneasy white audience. This dilemma that black males end up in shows the hypocrisy of our society where a guy such as the one played by Isiaah Washington in Clockers attempts to make ends meet with minimal success. In a moment of rage, his penned up anger at the institution drives to commit murder which of course ruins the rest of his life. So does society victimize black males to the extent that they are charged with felonies simply because that is the identity we associate with black males? This is what Chan discusses using Clockers.

Contemporary African American Cinema 2002: p.101-116. Web 19 Apr 2010. .

This review examines six movies released in the nineties that represent popular contemporary works and exhibit qualities that define this period of African American film-making. It looks at the affect Clockers has had on African American cinema and how Spike Lee has heavily influenced the production of these kinds of movies. The review investigates how the movie’s intended audience has shifted from only African American in order to address a more diverse audience. Other elements and methods present in the movie also help to mediate Lee’s strong opinions to his movie viewers. The review discusses the roles of some major characters in the movie and how they help to reveal Lee’s key intentions and purposes for creating the movie.

Massood, Paula J. "Which Way to the Promised Land?: Spike Lee's Clockers and the Legacy of the African American City." African American Review. 35.2 (2001): 263-279. Print.

This review evaluates how Spike Lee infuses Clockers with the African American history in an urban setting while broadening the scope of hood films. Hood films refer to movies set in the ghetto with minority characters. Such films usually focus on the world of drugs, sex, and crime. Massood compares Lee’s Clockers to films like Boyz N the Hood to better understand how Clockers fulfills and transcends generic attributes of hood films.

McCarthy, Todd. "Clockers." Variety 4 Sept 1995: n. pag. Web. 19 Apr 2010. .

The original screenplay was to be directed by Martin Scorsese who decided to direct Casino instead leaving the film Clockers to Spike Lee. The original screenplay focused on a white officer and his interactions with the drug and gun culture but once, Spike Lee took charge of the project, the script was shifted to focus on a young ‘clocker’ and the struggles he experiences. This particular source discusses Lee’s unapologetic style especially the close ups of victims of brutality and violence in the beginning sequence. Through his unique style, Lee shot a gangster film without utilizing any of the typical styles found in gangster films – the music is key in this comparison because Lee does not limit the soundtrack to hardcore gangster rap, but he also uses soul music.

Quart, Leonard. “Spike Lee’s Clockers: A Lament for the Urban Ghetto.” Cineaste Apr 1996: n. pag. Web 19 Apr 2010. .

In this review, Leonard Quart investigates how the film Clockers displays the American ghetto in a very truthful and dark way. The movie was released around the same time other “ghettocentric” films were, but Spike Lee intended Clockers to be the final and most absolute movie from this genre. Quart discusses how the movie’s pessimistic and gloomy mood creates an intense and influential mood that helps to convey Lee’s depiction of the urban ghetto. However, even though Lee effectively creates a socially significant and emotional film, the movie did not receive much commercial success. Quart investigates flaws of the movies that may have caused this but mainly illuminates why the movie is such a significant and meaningful film.

Brent and Gloria - Annotated Bibliography

Stone, Alan Spike Lee: Looking Back. The Boston Review, Dec. 1994. Web. 18
Apr. 2010 .

The Boston Review’s critique of School Daze analyzes Spike Lee’s theme and style within his film. The review claims the film to be important because it “introduces the theme of Black identity and separatism”, a major theme in Spike Lee’s subsequent films. It claims School Daze to be a film about black self-hatred, as lighter-skinned and dark-skinned students rival over what the true black identity is. The Boston Review also says the film bored the white audience because Spike Lee “had no real interest in saying anything to them”. This review determined School Daze to be a success, despite its failure at the box offices, because it set Spike Lee’s theme and subjects for his next films

Conn, Charles Austin Screens: Review- School Daze. The Austin Chronicle, 8
June 2001. Web. 18 Apr. 2010 .

The Austin Chronicle goes as far as to say School Daze “blazed trails where even contemporary racial pictures fear to tread”. It praises Spike Lee for addressing how polarized racial attitudes can be destructive amidst an African American community. The Austin Chronicle continues on to note the sexist undertones in the movie, as one of the main characters, Half-Pint, attempts to lose his virginity throughout the entire film using cheap pick up lines that undermine women’s intelligence. The review summarizes the film as a conflict between “assimilationist White Wannabees” and “nationalist Jigaboos”. Overall, the Austin Chronicle provides a good review for School Daze, saying that Spike Lee was able to fit as much race and identity politics into the film without losing his focus on the film
itself.

Ebert, At the Movies. Disney ABC Domestic Television, 1988. Web. 18 Apr.
2010
.

At The Movies online data base’s review of the film claims it to be “one of the most honest and revealing movies…about modern black life in America”. He deems it important because of the depiction of different paths African Americans may choose to follow as well as the way these individuals see themselves internally. He notes that the film was consisted of a predominately black cast, keeping focus on intraracial issues and avoiding selling out to commercial appeal. He praises Spike Lee by saying the movie is right on target and never boring, however he also describes School Daze as being disorganized and “wildly ambitious”. The reviewer states that this film wasn’t made to appeal to everyone, rather to make a statement about the black identity. Overall, he claims that the plot and technicalities of School Daze fall short compared to the overall theme and message of the film.

Maslin, Janet. "School Daze (1988) Film: 'School Daze'." New York Times, 12 Feb. 1988: 2. Web. 18 Apr. 2010

Janet Maslin of The New York Times offers an in-depth look into Spike Lee’s film “School Daze.” Maslin begins her review with a comparison to one of Lee’s previous films, “She’s Gotta Have It,” commenting that the director has moved on from a funny sexual battleground to a bigger, bolder and messier plot. Although Maslin points out interesting and valuable aspects of the film, she does not seem to be a fan overall. She points out that “the film's mischievousness doesn't sting the way it should” and that the musical sequences featured often seem too long or simply unnecessary to the plot. Maslin goes on to say that although “School Daze” pinpoints the uneasiness of racism at its heart, the film would have worked “better if an overall mood emerged more clearly, but incisiveness comes and goes.” With this being said, The New York Times gave Spike Lee’s film “School Daze” a balanced, unbiased review calling the film a “scathing look at a ficticious white-financed, all-black college…”

Ebert, Roger. "School Daze." Chicago-Sun Times, 12 Feb. 1988: 3. Web. 18 Apr. 2010 .

Acclaimed movie critic Roger Ebert, reporting for the Chicago-Sun Times, compares Spike Lee’s film “School Daze” to Lee’s previous film “She’s Gotta Have It” expressing the fact that these works include black characters who are relating to each other rather than a hypothetical white audience – he calls this voyeuristic. With this being said, Ebert is quick to add that the film has “big structural problems and leaves a lot of loose ends;” however, “School Daze” never once lost his attention. The review plays close attention to the movies ability to confront social issues within the black community such as skin color, hair texture, the sometimes sexist treatment of black women by black men, as well as the purpose of an all-black university in an integrated society. Ebert comments that “in his mind, "School Daze,"…is one of the most honest and revealing movies [he has] ever seen about modern middle-class black life in America.”

Kempley, Rita. "'School Daze' : (R)." Washington Post 12 Feb. 1988: 2. Web. 18 Apr. 2010 .

Washington Post Staff Writer, Rita Kempley states that audiences and critics alike were expecting big things from director Spike Lee after the success of “She’s Gotta Have It,” but believes that “School Daze” does not live up to these expectations at all. She calls the film “an arrogant, humorless, sexist mess” with a patchwork plot. Kempley goes on to compare the film’s battle between the Greeks and Geeks to that of “Revenge of the Nerds” and it’s sudden musical numbers to that of “West Side Story.” In the midst of her critique of the film, Kempley does praise “School Daze” and Spike Lee for the honesty and nature of the characters in relation to “real human beings with believable concerns.” Overall, the staff writer explains that Lee is more infatuated with social consciousness rather than social climbing, but lacks the answer to the great conflict of whether one should assimilate or retain every aspect of their individuality when it comes to mainstream America.

Miracle at St Anna - Amelia and Pam

Lippe, Richard. "Six Films." CineAction 76 (2009): 26. Print.

This review focuses mostly on summarizing the plot of Miracle at St. Anna and explaining some of the themes of the film, such as racism and omens. Unlike some of the other reviews of this film, this review compares the “scale and socially conscious concerns” of the film to those of other films, more specifically, epic films from the 1950s and 1960s. Instead of harshly criticizing the length of the film like many other reviewers, this review focuses on how the events of the film jump from the past to the present as well as how the climax of the film ties the themes together. Unfortunately, this review does not focus on the different physical aspects of film, such as camera angles or color usage, that provide other clues to the overall message of the film.

McCarthy, Todd. "Miracle at St. Anna." Variety [Los Angeles] 15 Sep. 2008: 20.

This review focuses on how the language and episodic flow of the film work together to make it “a clunky, poorly constructed drama.” The reviewer makes it clear that this was not one of Lee’s best films, regardless of the important message it carries regarding African Americans’ participation in World War II. The syntax used in this review is simple and easy to understand, and unlike some of the other reviews done for this film, this review focuses on many aspects of the film, such as the characters, the themes, and the cinematography. Unfortunately, this review itself is lengthy in its criticism of Lee’s lengthy film, and has a tendency to jump from aspect to aspect, lacking an easy to read flow.

Travers, Peter. "Miracle at St. Anna." Rolling Stone 16 Oct. 2008: 86. Print.

This review focuses on the overall performance of the actors as well as some of the technical aspects of the film, such as camera shots. The reviewer makes it clear that while he believes the film is “too long, lazily constructed, and crammed with too many characters,” it has a “grand ambition” to illustrate the racism that was prevalent in World War II. Instead of just focusing on the length of the film or its choppiness, this review introduces the characters and the actors who portrayed them and their strengths and weaknesses in their performances. It also praises the cameramen for their beautiful shots that when set to music “achieve enormous power.” Unfortunately, this review does not compare the film to others done by Spike Lee nor does it seek to connect the overall message of the film to the events.

Gleiberman, Owen. "Miracle at St. Anna." Entertainment Weekly 1014 (2008): 50-51. Print.

The review explains how Miracle at St. Anna is the first movie that addresses the role of African-Americans in WWII. The reviewer also makes it clear that “Miracle isn't powerful, it's muddled and diffuse”. The plot of the movie is explained along with the reasons the movie fails to convey its main points. According to the reviewer, the plot tries to cover too many subjects in order to really portray any of them properly. While the review gives plenty of explanation on how the plot fails, there is no mention of how filming technique, such as color and camera angles, influences the way the film is interpreted.

Honeycutt, Kirk. “Miracle at St. Anna.” Hollywood Reporter 9 Sept. 2008: 12. Print.

This review, like many others, explains how Spike Lee tried to take on a project that was too big for him. The review begins by informing the reader of Spike Lee’s main goal: to show the viewers the hardships of the all black 92nd Infantry Division during WWII. The reviewer also states how the movie fails to capture and maintain the attention of the viewer, claiming that Miracle “hits every thematic point too heavily and doesn't know when to move on.” The reviewer gives a clear explanation of the movie’s plot and afterwards explains why it fails. This approach made the review easier to follow.

Feld, Bruce. "MIRACLE AT ST. ANNA. “Film Journal International “ 111.11 (2008): 116. Print.

Unlike other reviews of Miracle at St. Anna, this review shines a positive light on Spike Lee’s film. The summary of the movie in this review is one of the clearest I have come across so far. While giving the audience a clear sense of the movie, the reviewer also explains how the cast plays a major role in the success of the film. The reviewer also discusses the effect that the battle scenes have on viewers. Whereas other reviews focused on the negative aspects of the movie and how the plot inched along, this review gave the reader insight to the performance of the actors and the detail that was put into each shot.