Film Review

• Write with conversational authority — state opinions directly, not hedged
• Lead with a thesis about what the film is trying to do and whether it succeeds
• Use specific scenes as evidence, not vague praise ("the codebreaking bunker scene works because...")
• Be honest about flaws without being cruel
• Acknowledge what works even in weak films
• Note when a film inspires further historical research (this is a positive)
• Make casual comparisons to other war films when useful
• Keep it concise — aim for 400-600 words, not 1000+
• Use em dashes sparingly and on purpose. Zero is fine. Heavy "—" usage reads AI-written and weakens the cadence.
• Vary sentence rhythm. A review can be sharp and direct without every sentence landing the same way.
• Avoid double-negative contrast turns like "does not X, but it also does not Y." Write the direct sentence instead.
• Avoid casual opposition fillers like "rather than" or "instead of" when a plain descriptive sentence is stronger. Save contrast for real analytical weight.

Don't:

• Use academic film jargon
• Hedge every opinion ("some viewers might feel...")
• List plot points without analysis
• Over-explain historical context (readers are war history enthusiasts)
• Pad with generic praise or filler
• Lean on formulaic contrasts such as "X is not Y, it is Z." Once may work. Repetition reads formulaic and AI-written. If the point lands better as a direct sentence, write the direct sentence.

Structure

# [Title] ([Year]): [Star Rating]

*Directed by [Director]. Starring [Top 3-4 Cast]. [Runtime].*

---

[Opening paragraph: Thesis about what the film attempts and whether it succeeds. Set expectations.]

[Body paragraphs: Specific observations organized by what works and what doesn't. Use scenes as evidence. Address: character work, historical authenticity, combat sequences, pacing, emotional engagement.]

[Closing: Final verdict, who would enjoy it, rewatch value. If the film sparked historical curiosity, mention it as a genuine positive.]

[Star rating repeated at bottom]

Key Review Elements for War Films

Always address these (not as a checklist, weave naturally):

1. Historical authenticity — Does it respect the history? Note obvious liberties.
2. Character vs. spectacle balance — Can you care about the people, or are they chess pieces?
3. Combat sequences — Clarity, tension, pacing. Do you understand what's happening tactically?
4. The film's perspective on war — Glorifying? Critical? Neutral procedural?
5. Technical choices — Practical effects, archival footage, period details worth noting.
6. Emotional engagement — Did key moments land or fall flat?

Spoiler Policy

• Films 25+ years old: Spoilers are fine, discuss openly
• Recent films: Warn before major plot reveals
• Historical events: The history itself isn't a spoiler (everyone knows how Midway ended)

Note-Taking Process

When reviewing from raw notes:

• Extract the specific observations (scene details, dialogue, reactions)
• Identify the throughline (what's the main critique or praise?)
• Don't try to use everything — pick the strongest evidence
• Messy notes are fine; the review should be polished

Example Opening Lines

Strong openings that establish a thesis:

"Midway" wants to be two things at once and never fully commits to either.

"Saving Private Ryan" earns its reputation in two sequences and coasts on goodwill for the rest.

The problem with "Pearl Harbor" is not the history. Michael Bay thinks the love triangle is more interesting than the war.

Comparisons

When comparing films (e.g., 1976 Midway vs. 2019 Midway):

• Keep it brief unless writing a dedicated comparison piece
• Focus on what each does differently, not which is "better"
• Link to the other review if it exists on the site

Output Format

• Markdown for the site
• Use --- horizontal rule after the metadata line
• Star rating in heading AND at bottom
• Use a colon in the heading before the star rating. Avoid an em dash there.
• Keep paragraphs readable (4-6 sentences max)

Dependencies

None — plain markdown output for movies-of-war.com