The first student sample paper below uses web sites for its outside sources. The other essays use CD-ROMS. Do not confuse the two formats because, as your book shows, they are different.
Silver Bullets and Sunlight
by John
Pearson
In Underworld, a film directed by Len Wiseman and starring Kate Beckinsale, two classic horror film creatures face off. The story revolves around an age-old rivalry between vampires and Lycans (werewolves). The main character, Selene, played by Kate Beckinsale, is a vampire trained to hunt and kill Lycans. It is during a hunt that Selene encounters the mysterious human named Michael Corvin (played by Scott Speedman). While hunting Lycans, Selene discovers that they are tracking Michael. Intent on discovering the Lycan's true intentions, Selene places herself and the safety of her coven at risk in order to protect Michael. When Michael saves Selene's life their connection becomes a bond, but never quite blooms into the conventional romantic interest found in many movies. Having been bitten by a Lycan, Michael has only a few days before he becomes a Lycan himself. Knowing that Michael is to become what Selene has been mislead to hate, the foundation of the race war begins to crumble. Writers Robert K. Elder and Bob Longingo appear impressed with Underworld's darkness, but are at odds as to whether the film is just a tiresome copycat, or a thrilling whirlwind of gothic action.
Chicago Tribune staff writer Robert K. Elder points out that Underworld presents itself less as a classic than an overcharged clone. When praising the photography and design of the Underworld environment, Elder makes comparisons to the classic films Batman and Blade Runner. However, he is quick to suggest that like the The Matrix Reloaded, this film has "too much story" and "too many angles." Elder criticizes director Len Wiseman's use of "complex bloodline histories," "genetics," and "supernatural customs" in clouding the potential of the film. Elder deems such filler as "story fat." Though Elder is impressed with Beckinsale's "untouchable eroticism" as Selene, and commends Speedman's Michael as a job well done, he cannot disregard the obvious lack of real chemistry between the two characters. Again, Elder finds some merit in the on-screen presence of the Lycans in their "wolf form," but is disappointed that the creatures "lose their identity" and appeal when in human form. Even with its endearing facets Elder still sees Underworld as more "soap opera" than "opera."
Bob Longingo, of The Atlanta Journal-Constitution, makes comparisons between Underworld and the Matrix films where battle scenes and special effects collide, but seems convinced that the film's "relentless speed," muscular feel," and "architectural colorlessness" allow it to stand alongside other science fiction/horror classics. Though Longingo suggests "many science fiction fan[s]" may find the Matrix-like battle scenes a bit repetitive, the presence of vampires going claw-to-claw keep the ride thrilling. Even with all of its imitating ingredients, Longingo writes, it is the "churning and bellowing and swirling" of "its Shakespearean story line" that keeps the viewer watching. With all its "comic book" characters and overdone special effects, Longingo is still swept along for a thrilling ride in the company of werewolves and vampires. Longingo writes, "simply put, it's awesome."
Just being a science fiction/horror film fan may be reason enough to like Underworld, even with its imitated battle sequences. If there were nothing alluring about the dark, mystic world of vampires and werewolves, than this film would stand or fall on its prosthetic leg of special effects. However, Underworld grabs one by the seat of their pants in the opening scene and carries them around every curve right through to the climatic battle between the two species. Deciding which species to side with does not become any easier as the storyline unfolds. Without Kate Beckinsale's alluring on-screen presence and her relationship with the mysterious Michael Corvin, this dark and stimulating mix of visual foreplay would be nothing more than a 1950's "B" horror flick overdosing on 21st century special effects.
However, it is the conflict and tension between characters combined with the unrelenting darkness that is around every corner that makes me a true fan of this film. Many other science fiction/horror films manage to jump from one scene of special effects to another without the need to look any closer, but Underworld uses human or partially human emotions to soften its computer-generated edges. As the story progresses we are touched by the mortal attraction between Selene and Michael that never has the opportunity to reach maturity. This kind of relationship is what draws me deeper into Selene and Michael's world as it's literally shredded by tooth and nail. It is the hope that something relative exists in these two creatures that humanizes them enough to root for their survival.
Works
Cited
Elder, Robert K.
"Movie Review: Underworld" Rev. of Underworld, dir. Len
Wiseman. Chicago Tribune
Longingo,
Bob. "Underworld" Rev. of Underworld, dir. Len Wiseman. The
Atlanta Journal-Constitution
Researched Report
John Barry
The Secret Garden
The Secret Garden is a film based on Frances Hodgson Burnett’s classic children’s book bearing the same title. This movie is about a young girl who is literally shipped off to her uncle’s English castle after her parents are killed in an earthquake. The main character, Mary, is played by Kate Maberly. She is tossed into a world where sunlight and cheerful discourse seem as rare as the attention she receives from the sour-pussed housekeeper Medlock, played by Maggie Smith. She helps her crippled cousin to see past his hypochondria and into the wonders of a long forgotten garden hidden beyond the confines of Misselthwaite Manor. While one critic dislikes the slight deviations from the book, another is content to relish in the imagery and scenery of The Secret Garden.
Megan Rosenfeld, a Washington Post staff writer, is obviously distressed at the modifications made by director Agnieszka Holland to the original story. Ms. Rosenfeld asserts, "If it ain’t broke, don’t rewrite it." She refers to some specific changes, including the use of an earthquake as a means to kill off Mary’s parents, instead of the cholera outbreak employed by the book’s author. Throughout her review of The Secret Garden, Ms. Rosenfeld hammers away at the movie’s deviations from the book, though she acknowledges, "Some changes admittedly are useful. . . ." She also feels that screenwriter Caroline Thompson’s effort was "annoying." This critic, with a few exceptions, gives the crew high marks for the props and scenery that support the story. Though charming, The Secret Garden is no more than a hatchet job on a classic story, according to Megan Rosenfeld (D1-2).
Desson Howe of The Washington Post saw The Secret Garden in a positive light, regarding the slight changes from the book as "quiet charms." Howe finds this picture to be an especially agreeable one, considering some of the less cerebrally challenging movies that are aimed at youngsters. This is mostly a serious movie, even though screenwriter Caroline Thompson is known for her work on movie titles like The Addams Family. Mr. Howe acknowledges that some changes in the story might upset those who grew up reading the book, but he also feels that enough of the original story is left intact so that no damage is done. The acting by both child and adult actors is plausible; the locations are appealing and moving. Desson Howe found this version of an often told tale to be a "pleasurable experience" and "a breath of fresh air."
To truly understand and enjoy The Secret Garden, one need only to watch with an open mind and allow the story to sink in slowly. Forget the book, which is a literary work of art. Yes, the story is thought provoking; for that, viewers can thank the author, Francis Hodgson Burnett. But the exceptional cinematography, along with the fantastic locations and merging character schemes, is a credit to Agnieszka Holland. The movie stands on the merits of the actors, the director, and the production/film crews. Taking nothing away from the author, this movie is entertaining in its own right. Viewers will see the curious Mary, sulking and lurking about the gigantic castle, searching for the source of midnight sobs. What she finds is the ailing son of her mother’s twin sister. The disabled boy, Collin, will rise up before the viewer, showing that he isn’t ready to wither away. Together, the two 10-year-olds must dodge the ever-frowning Mrs. Medlock and escape to the garden. Collin’s father, the mysterious Dr. Craven, can’t seem to interact with his son. In the end, however, all parties involved will open their arms just in time for a happy ending. It is, after all, a children’s tale.
Works Cited
Howe, Desson. "Garden: Refreshing Strolls
" The
CD-ROM. UMI-Proquest. 1996.
Rosenfield, Megan. "Why All
This Puttering in the “Garden”?" The
The Washington Post OnDisk .CD-ROM. UMI-Proquest. 1996.
Teacher's Note: These sample student essays are not perfect. They are meant to
point you in the right direction as you surpass them in quality! For example,
the last paragraph of the next sample paper should have far more supporting
details from the movie.
Reprinted with author’s permission.
Researched Report
Kelly Salazar
Natural Born Killers -- Genius or Junk?
On a daily basis, the public is bombarded with violence, not only on television, such as talk shows, cartoons, and videos, but also in other media, such as newspapers and tabloids. Natural Born Killers, a prime example of violence in the media, is a movie about two lovers, Mickey and Mallory Knox, who go on a killing spree across the Southwest. The movie takes a satirical look at how the media romanticizes violent crimes. Natural Born Killers has sparked a lot of controversy, as seen in the opposing views of Richard Corliss and Richard A. Blake.
According to Time magazine’s Richard Corliss, Natural Born Killers is "the ideal recipe for a Stone-crazy parable of greed and abuse." Corliss describes with great enthusiasm the main characters of the film -- Woody Harrelson and Juliette Lewis -- as "love-thugs. . . two doomed maniacs busy mythologizing themselves"; Tom Sizemore as a "brutish detective" hoping to capture them; Robert Downey, Jr., a tabloid reporter who wants to "exploit their exploits by turning them into media darlings"; and Tommy Lee Jones as a "crazed warden," a man who wants to be known as "the man who put them to death." Corliss goes on to describe the overall visual effects of the film as "two delirious hours of avant-garde and mainstream cinema." He explains to the reader how the film was mixed with "back projection, slow motion, animation and garish colors converging and colliding." Not only did Richard Corliss love the acting and technical aspects of the movie, but, in his opinion, Natural Born Killers is "the most excessive, most exasperating, most movie in quite some time" (66-68).
On the other hand, Richard A. Blake’s review of Natural Born Killers is entirely negative. He describes the two main characters, Mickey and Mallory, as "Bonnie and Clyde" and "celebrities of gore"; Robert Downey, Jr., as an "Australian version of Geraldo," who works for a low class television program; Tom Sizemore as a "sadist cop"; and Tommy Lee Jones as an equally dense warden." He believes that the "special effects, explosions with bursting fire-balls, and mutilated bodies distract from the moronic scripting" of the film. Unlike Richard Corliss, he believes that Natural Born Killers gives society a mixed message, and that Oliver Stone’s efforts in "exploring the connection between violence and the media" backfired because the movie itself has only added to the problem. Blake goes on the to say, "Stone’s visual experimentation is ultimately pointless" and that Natural Born Killers is a "brutal, violent film that assaults the senses" (22-23).
Having read both reviews of Natural Born Killers and seen the movie,
my opinion of the film tends to be that of Richard Blake’s. I feel that
not only was the movie boring, but also poorly made. Oliver Stone tortured me
for two straight hours with an insane movie plot that left me wondering what
exactly it was that I had just witnessed. The violence in this movie and other
similar films surely must have a negative effect on children. Critics such as
Richard Corliss who praise violent films and give
positive reviews of them are prime examples of the ultimate message behind Natural
Born Killers -- the media’s promotion and attention to violence, and
the connection between the two.
Works Cited
Blake, Richard A. "Stoned Again." America Press 17 Sept. 1994: 22-23.CD-ROM. UMI - Proquest.
Corliss, Richard. "Stone
Crazy." Time
Reprinted with author's permission