Fungsi
Review text adalah salah satu genre/jenis teks yang ditulis untuk memberikan ulasan terhadap sebuah karya seperti film, buku, lagu, pertunjukan dan lain sebagainya.
Struktur
Review text terdiri dari beberapa bagian sebagai berikut:
1. Orientation/Introduction
Bagian ini berisi pengenalan karya yang akan diulas. Informasi umum tentang karya tersebut juga akan diberikan. Semisal yang diulas dari sebuah review text adalah sebuah film, judul film, karakter dan sutradara dari film tersebut bisa ditulis pada bagian ini.
2. Evaluation
Bagian ini berisi informasi lebih rinci terkait karya yang diulas. Deskripsi yang mendalam tentang obyek yang dibahas bisa ditulis disini untuk memberikan gambaran lebih jelas kepada pembaca.
3. Interpretative Recount
Sesuai dengan namanya, di bagian ini penulis menyampaikan interpretasi atau pandangannya terhadap karya yang dibahas. Jika karya tersebut adalah sebuah novel atau film, penulis bisa mengulas karakter-karakter serta plot dari novel atau film tersebut. Perbandingan karya yang dibahas dengan karya lain yang sejenis juga bisa disampaikan.
4. Evaluative Summation
Bagian ini adalah bagian terakhir dari sebuah review text yang berisi opini terakhir penulis terhadap sebuah karya seni yang diulas. Dengan kata lain, evaluative summation adalah kesempatan terakhir bagi penulis untuk memberikan penilaiannya terhadap karya seni tersebut, baik berupa ulasan positif maupun negatif.
Unsur Kebahasaan
1. Fokus pada obyek tertentu (Contoh: sebuah film/lagu/buku dll)
2. Menggunakan kata sifat (Contoh: interesting, contemplative, excellent dll)
3. Menggunakan kalimat panjang dan kompleks
4. Menggunakan majas/kata-kata kiasan
Contoh
Review text tentang film
Borrego Review: Lucy Hale Leads Thoughtless, Messy & Misguided Thriller
[Orientation/introduction]
Borrego, written and directed by Jesse Harris, is misguided and fails to be thought-provoking or contemplative on the matters it seems to be about.
By Ferdosa
[Evaluation]
Borrego is a film with an identity crisis. Not entirely the film promised in its opening scroll and it ends up never fully grasping the depth of what it is trying to convey. The opening text of the film references the rise of prescription drug usage, overdoses and drug-related deaths in America. It points to fentanyl and ADHD stimulants as being starting points for this upward trend. It also includes a note about how all of this is impacting the lives of people on the border. Borrego, however, doesn't meaningfully engage with its set-up and it would have served the plot better if the opening scroll was not included. Borrego, written and directed by Jesse Harris, is misguided and fails to be thought-provoking or contemplative on the matters it seems to be about.
[Interpretative recount]
The film follows Elly (Lucy Hale), a botanist who is out in the desert surveying a plant that is not native to it. From the beginning, we are made aware of the fact that Elly is battling some personal demons. Her job turns into a form of personal exile, but then quickly turns into a nightmare. Elly witnesses a plane crash, and when checking on the occupants of the plane discovers a drug mule, Tomas (Leynar Gomez). Elly is now in for the fight of her life as she and Tomas are hunted by cartel member Guillermo (Jorge A. Jimenez).
Borrego primarily deals with, quite honestly, a figment of alarmist ideas. While the border between the United States and Mexico could be a dangerous place (depending on who you are and on what side of the border you reside on), the idea of an innocent bystander witnessing a drug plane crashing and then being caught in a game of life and death plays into the fears of drug trafficking that are often created out of bad faith. Statistics have shown that most trafficking occurs through legal points of entry. This matters because the opening of the film indicates that it will engage with this topic in a meaningful and honest way, but in practice, it only falls into the same stereotypical portrayals of drug trafficking. And that makes Borrego a very uncomfortable watch.
Narratively the film also falters, even without the weight of what it is trying to represent. Elly is a troubled woman who indicates that the use of prescription drugs has had horrible ramifications on her life, but that is never expanded upon or addressed. It feels like there is meant to be some link between her usage of drugs and the drugs that she is now forced to shoulder with Tomas as he forces her to lead him to his destination. On the flip side, we have a harrowing explanation of how Tomas found himself in this position, a backstory that aligns with how many individuals from Latin America are forced into trafficking. However, these thematic pieces never connect nor do they result in a meaningful ending that leaves a lasting impression on the matter. There are loose threads left for audiences to discern whether they should feel as much empathy for Tomas as they do Elly.
Furthermore, it is extremely eye-roll-inducing to witness an exchange that has Elly the botanist explain that she is studying a plant that “shouldn’t be here” and then have Tomas equate that to people like him. Despite decent performances from the leads, the script ultimately fails them. This is the sort of exchange that should have gotten this script shelved. The one thing Borrego does have going for it is Octavio Arias' cinematography which anchors the film. Through his lens, we see the vastness of the desert and while it may be a breathtaking view, it is never forgotten how dangerous this dry land is. Elly and Tomas' journey is a treacherous one, even without a cartel member — who, by the way, needlessly kills people as he pursues Tomas and Elly — on their trail. Harris' directing is also comparable, his steady hand never overplays the drama or the action, easing viewers through each moment of the increasingly precarious situation Elly is in. If only he had a deft hand when writing this script.
[Evaluative summation]
As a whole, the film is an overwhelming disappointment. It never feels like it is genuinely engaging with the crisis at hand; rather, fragments of depth flutter about, aimless. Clearly, there is the intention to shine a light on the victims who get brought into these tragic situations, such as Tomas and, to a certain degree, Guillermo. But Harris undercuts those nuanced portrayals by centering on a white American woman who must flee the bad brown Latino man. The bad optics are too overwhelming and stereotypical and can not be overcome to see the heart of what Harris is attempting to do.
There is a reason why conversations about diversity, inclusion, and representation often emphasize the need for behind-the-scenes changes. It is because films like Borrego manage to get produced and they further push outdated ideas, bad optics, and stereotypes that are not adequately dismantled or critiqued within the work itself.
(Taken from: https://screenrant.com/borrego-2022-movie-reviews/)
Review text tentang lagu
Song Review: Taylor Swift’s ‘Gorgeous’
By Chris Willman
[Orientation/Introduction]
It appears the “old Taylor” can come to the phone after all. For anyone hoping for a more conventional Taylor Swift single from her forthcoming sixth album, “Reputation,” the third time’s the charm, as “Gorgeous” finally provides some of the conventional pleasures that only a pop song about falling deeply in crush can.
[Evaluation]
Not that “Gorgeous” (released at the stroke of midnight Friday, in advance of the album’s Nov. 10 drop) would ever be mistaken for an outtake from “Fearless.” Producers Max Martin and Shellback have taken the track’s musical bed in the same deep electro-throb direction of the two preceding singles released from the album, “Look What You Made Me Do” and “…Ready for It?” It doesn’t even involve the currently trendy trick of combining electronic and acoustic instruments: If you’re looking for an “organic” element in the arrangement, you might have to settle for that split second pause between the verse and chorus, when we get what sounds suspiciously like… a triangle solo.
[Interpretative recount]
Musically, it’s closest to ‘Blank Space’ — that triangle chime even serves the same drop-out purpose as the pen-click sound effect in that former hit — but in lyric and spirit, ‘“Gorgeous” is, essentially, “Enchanted 2017.” And the segment of her audience that wasn’t entirely down with the paranoid turn of “Look What You Made Me Do” will be enchanted to meet the lighter side of Swift again.
Like “Enchanted” (from 2010’s “Speak Now”), “Gorgeous” is a sweet song about becoming besotted to the point of shyness while circling an object of desire at a social gathering. The main difference between then and now is the references to these sudden desires being influenced by being under the influence: “You should take it as a compliment that I got drunk and made fun of the way you talk,” is the opening line. Later, she establishes their location as being at the intersection of “whiskey on ice, Sunset and Vine,” where she’s got “a boyfriend (who’s) older than us… in the club doing I don’t know what.” (Dorothy, we’re not in “Our Song” anymore.)
The language is alternately self-mockingly dramatic — “You ruin my life by not being mine” — and whimsically frisky: “I can’t say anything to your face, because look at your face.” The effervescence of the chorus melody makes it clear that we’re not to take too seriously any of this being bewitched, bothered, and bewildered.
[Evaluative summation]
Or are we? Speculation immediately ran rampant that the song is about her rumored boyfriend, actor Joe Alwyn, with the soon-to-be-forgotten older dude in the disco possibly representing her past with one of the world’s more famous DJ types, Calvin Harris. Or, maybe this time around, she’s stopped writing autobiographically. (Sure she has.) A reference to “ocean-blue eyes” is likely not random, historically speaking. In the past, Swift’s references to eye color have been a veritable decoder ring to real-life lyrical assignations. (A brief history: the guys in “Sparks Fly,” “Everything Has Changed,” “I Know Places,” and “Wonderland” had green eyes, a la Harry Styles or Conor Kennedy, while the fellow in “State of Grace” had blue peepers, making him Jake Gyllenhaal, in perception if not reality. Maybe blue is her color after all.)
Apparently fans will have to wait another three weeks for the release of “Reputation” (an album so closely guarded her team doesn’t even plan to reveal the remaining song titles in advance) to try to figure out if the would-be swain in “Gorgeous” is, in fact, the guy who ultimately met the cats.
(Taken from: https://variety.com/2017/music/reviews/taylor-swift-gorgeous-single-review-1202595083/)