University of South Florida Moonlight Movie Critical Review Essay IF YOU ARENT GOING TO WATCH THE MOVIE DONT DO THIS you are to watch movie first because

University of South Florida Moonlight Movie Critical Review Essay IF YOU ARENT GOING TO WATCH THE MOVIE DONT DO THIS

you are to watch movie first because you are to quote certain parts as you go. (3 times max)

have a clear theme that relates to the lgbt and the current society etc.

attached are the instruction/checklist

as well as the sources for citations

citations for source are total of 5

1. is the Paul 8 modes of thought I will attach a picture as well as the guide attached below

2/3. external source

4. greenbook attached

5. reich attached

follow the instructions to the dot. CRITICAL CONSCIOUSNESS:
REFLECTING, THINKING, OBSERVING, READING,
RESEARCHING, & WRITING THROUGH A CRITICAL LENS
by Dr. Warren J. Blumenfeld1
In this class, you are expected to think critically/reflectively/creatively to the concepts, topics,
issues presented, and to class discussions, readings, videos, and written assignments. This class,
therefore, may be calling on you to think or respond somewhat differently than in some of your
other courses. I will, therefore, require that you justify and backup your thoughts and “opinions.”
Opinions without justification are just that—opinions—and you can expect to have points
deducted without providing critical thinking (which includes rationale/justification). In this course,
you will be expected to think “outside of the box.”
According to Dr. Stephen Brookfield,2 critical thinking involves four inter-related phases:
1. Discover the assumptions that guide your decisions, actions, and choices. (What do I think
and why do I think of it the way I do?),
2. Check the accuracy of these assumptions by exploring as many different perspectives,
viewpoints, and sources as possible. (pose questions, talk with others, take courses, read,
research, etc.),
3. Use abstract ideas to interpret the information effectively,
4. Take informed decisions that are based on these researched assumptions. (Informed
decisions are based on evidence we can trust, can be explained to others, and have a good
chance of achieving the effects we want).
Some questions you may want to ask yourself during course discussions, when reading course
assignments, when watching course videos, and when researching and writing your papers:
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You might want to first, consider the “larger picture” by extracting the overarching theme(s)
and subtheme(s) of the materials as a group (the macro level), and of each individual piece of
the materials (the micro level). This will place the materials into a fuller context with one
another.
Consider the person(s) choice of words.
What are the points being made, and what is the overall message?
What are behind the points and behind the message?
What is in the mind of the writer of the piece or the character(s) in the video? To know this,
you must suspend, for a time, your reactions to the person(s). You must attempt to walk in
their shoes, to perceive the world and the people around them as they would perceive—in other
words, you must be able to develop empathy. From where comes their motivations, their
behaviors, their actions?
(continued on next page)
College of Education, University of Massachusetts, Amherst; wblumenfeld@educ.umass.edu
Distinguished Professor, University of St. Thomas, Minneapolis, MN.
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What underlying assumptions are made by the person(s) delivering the message?
What is the person(s) underlying philosophical/political/behavioral perspective? Look
“between the lines” of what the author is writing.
What are the person(s) social identities, and do these impact their perspective(s)?
Pull out each point, analyze it from various perspectives, determine how each point fits with
other points being presented, put the individual points back together into the whole, determine
whether the points are consistent or contradictory, unified or disjointed, etc.
What are the words the person(s) set off in quotations/underlining/bolding? What is the overall
effect?
What is the impact of the message on the receiver? What impression does the message have
on you? Again, justify your answer.
What are the possible repercussions of this message?
What was one or more points that either you did not know previously or that particularly
surprised you?
Give your commentary on the author(s) ideas, assumptions, conclusions. Do not simply
summarize the author(s) article(s).
Have you read or heard something like this elsewhere? Connect it to previous readings,
author(s), video(s), or theory(ies). COMPARE and CONTRAST this reading with
readings of similar themes (from the same week’s materials, from previous week’s
materials, or with outside-of-course readings), or with readings that may appear on the
surface different but connect in some way.
Virtually ask the author(s) questions for clarification, critical questions, questions that may
challenge some of their assumptions or conclusions.
Construct a virtual discussion between and among authors of different articles, where they
seem to agree and to disagree.
What was left out or questions you have that were not answered? Ask “critical questions”!
Are there any points with which you take issue or with which you disagree? Why? Fully justify
your critique! Are there any outside sources you can reference to back you up? If so, refer to
them?
What ideas, concepts, issues and/or theories that were covered connected in some way(s) to
your personal experiences? How? In what way(s)? Explain and fully analyze.
Khan 1
PURPOSE: The purpose of this essay is to demonstrate what you’ve learned during chapters 1,
2, and 3. For this essay, you’ll write a critical film review of ONE of the films you haven’t
already reviewed during Chapters 1, 2, or 3 according to the instructions below.
ASSIGNMENT TASK:
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BEFORE beginning this assignment, review the assignment rubric below. Essay content
can ONLY be graded based on this rubric. If you follow the rubric guidelines, you’ll do
well.
ESSAY PROMPT:
o CONSIDER and CHOOSE ONE of the films you HAVE NOT already reviewed
during chapter 1, 2, and 3.
o From your choosen film, WRITE a critical film review of it. You may write the
review for any type of audience and use a formal or informal voice (magazine,
Rotten Tomatoes, television entertainment, etc.).
o The review MUST DISCUSS the following elements:
? The film’s theme OR major question the film explores.
? HOW the theme/question relates to a specific cultural context.
? HOW you think the film DOES OR DOES NOT remain relevant to
audiences of today.
o Film clips (stills) from the cited film are encouraged to support thesis.
(Links to an external site.)ESSAY MUSTS:
o INCLUDE A THESIS STATEMENT (a definitive claim, a one sentence statement in
the first paragraph). Your thesis should state HOW chosen film explores your
choosen theme/major question through a specific cultural context AND HOW
the film DOES or DOES NOT remain relevant to audiences today.
? Good thesis example: Ridley Scott’s 1979 gothic horror film, Alien,
explores a thematic question that continues to be relevant for audiences
today: what’s the worst that can happen when we don’t listen to one
another; in the case of Alien, what happens when we don’t listen to
women.
• This thesis is ONE sentence, is SPECIFIC (provides details like film
name, year, genre, director), INCLUDES all elements from the
given PROMPT (theme, cultural context, and is or isn’t relevant
for audiences of today). In short, it provides a DEFINITIVE CLAIM
that can be supported in subsequent paragraphs.
? Poor thesis example: Alien is a good movie that audiences still enjoy
today.
• This thesis statement does not include all elements from the
PROMPT and its CLAIM is too VAGUE to be sufficiently supported.
Khan 2
o USE SUPPORTED STATEMENTS throughout essay relating to and defending
thesis statement.
o INCLUDE your own research using at least TWO source external to class.
? — Use reputable sources you think have value and are credible.
o INTEGRATE all eight (8) of Paul and Elder’s Elements of Thought.
o CITE a minimum of FIVE (5) SOURCES
? TWO sources must be EXTERNAL to course Learning Texts (studentsourced texts).
? CITE sources in-text AND in a Works Cited page.
o WORD COUNT: Between 1000 (minimum) and 1100 words (maximum)
o FORMAT: Modern Language Association Style (https://www.mla.org/MLA-Style
(Links to an external site.)).
? Pro-tip: See the Purdue Owl for MLA format, citation guidance.
Movies
Cultural Context: LQBTQ+
Moonlight
Cultural Context: People Of Color
Akeelah and the Bee
Crazy Rich Asians
Green Book
I Am Not Your Negro
Smoke Signals
GREEN BOOK
Written by
Nick Vallelonga & Brian Currie & Peter Farrelly
© 2018 STORYTELLER DISTRIBUTION CO., LLC
ALL RIGHTS RESERVED
FADE IN:
TITLE CARD:
“New York City, 1962”
EXT. COPACABANA – 10 EAST 60TH ST. – NYC – NIGHT
The famous red awning with COPACABANA in white block letters
hangs over the entrance of the world-renowned nightclub. A
long line of well-dressed customers fills the sidewalk
waiting to get in.
OVER THIS – WE HEAR the opening horns of Bobby Rydell’s
version of “THAT OLD BLACK MAGIC”…
INT. COPACABANA – MAIN ROOM – CONTINUOUS
The vibe is electric. SIX HUNDRED PATRONS pack the tables in
the main room. Brazilian in theme, the Copa décor is art deco
throughout, filled with palm trees illuminated by blue and
pink hues. Pure elegance.
Peppering the crowd… gorgeous COPA GIRLS, white-jacketed
WAITERS, MAITRE D’S in Black Tuxedo Jackets, CAPTAINS in Blue
Tux Jackets, and BOUNCERS in Red Tux Jackets.
On stage in front of the Orchestra, tuxedo-clad BOBBY RYDELL.
The crowd APPLAUDS.
BOBBY RYDELL
Thank you very much! Welcome to
Jules Podell’s Copacabana! I’m
Bobby Rydell and I’m happy to be
here!
(singing)
That old Black Magic has me in its
spell…
THE SONG CONTINUES THROUGH THIS ENTIRE SEQUENCE…
FRANK “TONY LIP” VALLELONGA, 40s, Copa bouncer, moves quickly
through the crowd. Lip is imposing with a charismatic
presence. You don’t mess with this guy.
Following Lip, an ATTRACTIVE COUPLE. Lip leads them to a
table near the front of the stage. The man slips Lip some
cash.
The Orchestra kicks in big, the room is jumping…
At a back booth, JULES PODELL, 60, Copa owner, a tough-asnails bulldog of a man. He taps his diamond ring on the table
to the beat of the song.
2.
INT. COPACABANA – COAT CHECK – CONTINUOUS
Lip trolls for customers who will tip him for a table. He
NOTICES…
JOEY LOSCUDO, 50s, a Mob Boss, entering the club followed by
his CREW. Loscudo walks over to the COAT-CHECK GIRL, takes
off his coat and hat, hands them to her.
LOSCUDO
Guard this hat with your life… My
mother gave it to me.
He winks.
COAT-CHECK GIRL
Yes, Mr. Loscudo…
He hands the Coat-Check Girl some money. The MAITRE D’,
CARMINE, walks over.
Joey!
CARMINE
LOSCUDO
Hey, Carmine!
Carmine slips Lip some cash.
CARMINE
That’s not necessary…
LOSCUDO
Come on. You know I saw this kid
Rydell last year in Philly. Nobody
knew who he was.
CARMINE
Well they know him now…
They hug, then Carmine escorts Loscudo and his ENTOURAGE into
the main room. Lip approaches the Coat-Check Girl.
LIP
Gimme Loscudo’s hat.
COAT-CHECK GIRL
But he said…
LIP
I know, just give it to me…
He bangs her a couple bucks, she turns the hat over to him.
3.
INT. COPACABANA – MAIN ROOM – CONTINUOUS
RYDELL’S STILL SINGING, THE JOINT’S ROCKING… A FIGHT breaks
out… FOUR GOOMBAHS pound each other. Tables flip, glass
breaks, patrons scream…
ANGLE ON Podell as he jumps up…
PODELL
TONY LIIIIIIIIIIIIIP!!!
Lip is already on the move, running to the fight…
It’s pandemonium, but Rydell doesn’t stop. He and the
Orchestra building the speed and intensity of the song…
Lip is joined by Carmine, and some BOUNCERS, all of them
grappling with the Goombahs. They quickly RUSH THEM OUT OF
THE ROOM….
EXT. COPACABANA – NIGHT – CONTINUOUS
Everyone comes CRASHING out the front door. Lip throws the
Goombah down the steps to the street. He jumps up.
GOOMBAH
YOU PUT YOUR HANDS ON ME, YOU
PUNK?!
LIP
Do yourself a favor–go home with
your friends.
GOOMBAH
Don’t you tell me where to go! Do
you know who I am?! I’m goin’ back
in there!
LIP
Nah, you’re not.
The Goombah TAKES A SWING at Lip and it’s on. Lips KNOCKS HIM
ON HIS ASS, then jumps on him and starts to BASH HIS FACE IN.
CLOSE ON – Lip, brutally punching, his fists bloody, as WE
HEAR O.S. APPLAUSE and
SMASH CUT TO
INT. COPACABANA – STAGE – CONTINUOUS
The band’s swinging as Bobby Rydell delivers the big climax
to the song…
(CONTINUED)
4.
CONTINUED:
BOBBY RYDELL (O.S.)
(singing)
…Whoa, that old Black Magic
called loooooooove!
SMASH CUT TO:
INT. COPACABANA – COAT CHECK – LATER – NIGHT
A line of people wait behind mob boss Joey Loscudo as he
screams at the Coat-Check Girl. Carmine stands by.
LOSCUDO
I‘ll burn this place down! Where’s
my hat!
COAT-CHECK GIRL
I’m sorry, Mr. Loscudo, I went to
the ladies room, I was only gone a
minute…
LOSCUDO
Someone better find it!
CARMINE
It’ll turn up, I swear it’ll turn
up.
LOSCUDO
Really? You tell that fat Jew
bastard Podell that if it doesn’t
turn up, I’ll burn this place down!
You hear me? I’ll burn the Copa
down!
EXT. COPACABANA – ENTRANCE – NIGHT – LATER
Lip, Carmine, and another bouncer, DANNY, smoke cigarettes,
lean against a dinged-up ‘55 BUICK Sedan.
A poster at the Copa entrance reads: BOBBY RYDELL – SOLD OUT!
A worker pastes a banner over it: COPA CLOSED FOR RENOVATIONS
NOVEMBER/DECEMBER – SEE YOU IN JANUARY WITH SAMMY DAVIS, JR.!
CARMINE
Jesus Christ. Loscudo is out of his
mind.
DANNY
We earned our money tonight.
(CONTINUED)
5.
CONTINUED:
CARMINE
Lip, I thought you were gonna kill
that guy.
LIP
Better him than me. What are you
gonna do while we’re closed?
DANNY
I don’t know. Maybe work at my
Uncle’s pizza joint.
LIP
(to Carmine)
What about you?
CARMINE
I’m gonna drink for two months.
The men straighten up as Jules Podell exits the club.
JULES PODELL
Take me home, Lip.
SMASH CUT TO:
INT. JILLY’S SALOON – NIGHT
LOSCUDO’S HAT GETS PLOPPED IN THE MIDDLE OF A TABLE…
PULL BACK… Luscudo sits in the corner booth, holding court
with JILLY and friends.
LOSCUDO
My hat! Jesus Christ, if you had
tits, I’d kiss ya! How the hell’d
you find it?
ANGLE ON LIP standing in front of the table.
LIP
Heard it was missing, so I looked
into it.
LOSCUDO
I wanted to kill that broad.
LIP
Wasn’t her fault.
JILLY RIZZO
Who had the balls to clip it?
(CONTINUED)
6.
CONTINUED:
LIP
Don’t worry about it, I took care
of him.
LOSCUDO
I hope you gave him some beating.
Loscudo pulls out a wad of cash, peels off a C-note.
LIP
No, I can’t. It was my pleasure,
Mr. Loscudo.
Loscudo SLAMS the MONEY into Lip’s hand.
LOSCUDO
Bullshit. And from now on you don’t
have to call me Mister Loscudo, ya
hear me?
Lip smiles.
EXT. LIP’S APARTMENT – BRONX – DAWN
A six-story brick building with fire escapes framing the
windows. Parked cars fill both sides of the street. Lip’s car
pulls up and parks in front of a FIRE HYDRANT. He gets out,
grabs a garbage can, and PUTS IT OVER THE HYDRANT.
INT. LIP’S APARTMENT – MORNING
Lip ENTERS the small one-bedroom apartment. He moves to the
kitchen, opens the refrigerator, chugs half a bottle of milk.
INT. LIP’S APARTMENT – BEDROOM – MORNING
Lip ENTERS. Sleeping in the bed, Lip’s wife DOLORES, late
30s, pretty. Beside her, NICK, 9, and FRANKIE, 7.
Lip takes off a ring, his watch, places them on top of the
bureau. Empties his pockets of crumpled wads of cash.
Lip strips down to a t-shirt and boxer shorts, gets in bed,
snuggles up to Dolores. She wakes, kisses him.
DOLORES
‘Morning…
‘Night…
LIP
7.
INT. LIP’S APARTMENT – LIVING ROOM – DAY
CLOSE ON – A BLACK AND WHITE TV, THE YANKEES PLAY THE SAN
FRANCISCO GIANTS, GAME 6 OF THE WORLD SERIES.
PHIL RIZUTTO (V.O.)
“Roger Maris at the plate, Pierce
checks the signs…”
PULL BACK — On the couch watching the game, Lip’s Father,
NICOLA, 70s, brother RUDY, 30s, Dolores’ father, ANTHONY,
70s, and her two brothers JOHNNY, 40s, and LOUIE, 30s.
JOHNNY
Come on, Roger! Hit one out!
RUDY
Be quiet, you’re gonna jinx it!
Lip ENTERS still wearing his t-shirt and white boxers.
LIP
(sarcastic)
Johnny, think you can yell a little
louder?
JOHNNY
Maris is up…
LIP
Yeah, so am I now. What the hell
are you guys doing here?
Johnny discreetly nods toward the kitchen where we see TWO
BLACK WORKMEN laying down linoleum. The kids, Nick and Frank,
play with plastic Green Army soldiers in the corner.
JOHNNY
Figured we’d come up and keep
Dolores company…
BACK TO SCENE – Lip gets the point.
ANTHONY
(in Italian)
You shouldn’t be sleeping in the
middle of the day, leaving my
daughter here alone with these
sacks of coal.
NICOLA
(in Italian)
And why do you hire them to do an
Italian’s job? It’s a disgrace.
(CONTINUED)
8.
CONTINUED:
LIP
(in Italian)
I don’t know who they’re gonna
send.
ON Dolores – she pours a couple glasses of lemonade and hands
the drinks to the Black Workmen.
BLACK WORKMAN
Thank you, ma’am.
Lip watches as the Workmen drink the lemonade, then Dolores
takes the glasses and PUTS THEM IN THE SINK. As she leads the
men to the door, we go…
ON THE TV – MARIS SWINGS… CRACK!
PHIL RIZUTTO (V.O.)
“Deep to center field, holy cow he
did it! A home run for Roger Maris!
Holy cow!”
Johnny jumps up, they all CHEER…
Except Lip, whose eyes keep darting toward the GLASSES IN THE
SINK. Dolores comes back and Lip joins her in the kitchen. He
pours himself a glass of water, dips his finger in the sauce
she’s cooking. Dolores slaps his hand away.
DOLORES
Get dressed, Tony, we’re gonna eat.
She picks up a big platter of meatballs and sausage and takes
it into the dining room. Lip glances into the sink.
CLOSE ON – The Black Workmen’s two empty lemonade glasses.
Lip takes the GLASSES out of the sink, DROPS THEM INTO THE
GARBAGE.
CUT TO:
INT. LIP’S APARTMENT – DINETTE – LATER
Lip’s at the table, dressed now. Wine and plates of rigatoni.
Joining them for lunch are FRAN, Johnny’s wife, and LYNN,
Louie’s wife. Dolores makes the sign of the cross.
DOLORES
Bless us our Lord, for these thy
gifts, which we are about to
receive, from thy bounty through
Christ our Lord, Amen.
(CONTINUED)
9.
CONTINUED:
They all make the sign of the cross.
Salute.
NICOLA
They start stuffing their faces.
DOLORES
If anyone hears about a job for
Tony, let us know.
LIP
(nobody’s business)
Dolores…
RUDY
What happened, you get fired?
DOLORES
No, Copa’s closing for repairs. He
needs something for just a couple
months.
JOHNNY
I’ll ask around.
NICOLA
(in Italian)
Mister big shot. Always spend,
spend, spend. No job, he gets
himself a new kitchen floor.
LIP
(in Italian)
Come on, Pop. The kids were gettin’
splinters in their feet.
FRAN
All the people he knows, he’ll find
something.
JOHNNY
He had a great job at the
sanitation department.
(to Lip)
You shouldn’t have punched out the
foreman.
LIP
He shouldn’t have woke me up.
Everyone LAUGHS.
CUT TO:
10.
INT. LIP’S APARTMENT – KITCHEN – DAY – LATER
Dolores is cleaning up. She’s scraping a plate into the
garbage can when she notices something O.S.
DOLORES’ POV – Two empty glasses in the garbage…
She SIGHS, disappointed in her husband, then picks up the
glasses from the garbage pail and puts them back into the
sink.
CUT TO:
INT. GORMAN’S HOT DOGS – DAY
Johnny, Lip, and Lip’s youngest boy, Frankie, ENTER.
JOHNNY
I’m tellin’ you, this is gonna be
the easiest fifty bucks you ever
made.
They walk over to a table where FAT PAULIE, 40s, is waiting
with the owner, GORMAN, and a couple other CUSTOMERS.
FAT PAULIE
Johnny told me you ate forty-eight
White Castle burgers in one
sitting.
FRANKIE
Cheeseburgers.
FAT PAULIE
I don’t believe you.
LIP
What do I care if you believe me?
(beat)
Gorman, who’s got the record for
hotdogs here?
GORMAN
Fat Paulie. Fifteen.
JOHNNY
Why wasn’t Lip in on that contest?
FAT PAULIE
What contest? I was hungry.
The guys CHUCKLE.
(CONTINUED)
11.
CONTINUED:
GORMAN
Bet’s simple. Half a C-note. Most
hotdogs in an hour wins. With
toppings.
Lip sizes him up.
LIP
What the hell you weigh?
Two-sixty.
FAT PAULIE
JOHNNY
Aaaaay. Your left ass weighs twosixty.
Fat Paulie raises his right hand.
FAT PAULIE
May my mother-in-law drop dead on
the spot if I’m lyin’.
They all LAUGH.
LIP
Okay, you’re on.
SMASH CUT:
INT. GORMAN’S HOT DOGS – LATER
The table filled with an assortm…
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