Frameby Frame

0–1The basic story cannot be understood. It makes no sense from beginning to end.

2–3The plot is understood but impossible to describe beyond its genre. The story is grasped but the message isn't.

4–5Plot and basic message are understood. A few subtleties are apparent. Themes are obvious and well-supported. Pacing doesn't always serve what's presented.

6–7Plot and message are understood. Characters and concepts explored in depth. Layering of subgenres is well incorporated. Pacing is mostly aligned with story beats.

8–9Extrapolation achieved. The intricacies of plot and character have been assimilated. The world of the story is familiar. Pacing usually supports what's on screen, with minor issues.

10All layers of the plot are understood and can be linked with one another. Inventive ways of introducing subplots. The pacing is optimum — the viewer hangs on every word.

0–1Uninspired camerawork.

2–3Safe, easy camerawork. Lighting is appropriate but doesn't help the viewer engage.

4–5A few risky shots and interesting movement. The camera begins to take the viewer on a visual adventure.

6–7Different shots enhance storytelling at crucial moments. VFX and CGI are blended in to aid the story. The viewer is guided through the images.

8–9The camera takes the viewer through a range of emotions. Depth of field is explored. Very few continuity errors. Elements arranged to convey interpersonal relationships.

10The camera always supports the action. Shots are surprising. Long takes and unconventional methods are prioritised. The audience feels part of the story instead of watching it.

0–1Unclear, unrecognisable, takes away from the rest of the film.

2–3The audience is spoon-fed dialogue. Music is used to sugarcoat everything.

4–5Dialogue is more poignant and trusts the audience's intelligence. Music covers silence or heightens emotion. Basic sound effects.

6–7Depth in dialogue. Diegetic and non-diegetic sound is used. Plays with frequencies and communicates atmosphere through sound.

8–9Silence is respected and given to the audience as a way of reading subtext. The audience is required to read between the lines.

10Silence and spoken dialogue are equally important. The music becomes a character of its own — carried by viewers long after the credits roll.

0–1Visuals are boring, basic, or don't make sense.

2–3More interesting visuals but little play or adventurous staging.

4–5Good composition. The audience is drawn into the story. Gentle world-building with a certain familiarity.

6–7Very good composition. The audience slips into the world. Stronger connections between all filmmaking departments.

8–9Excellent composition, everything supports the story. Most filmmaking tools are utilised in correlation, though not always to their full potential.

10The world-building is so complete the viewer never snaps out of it. Everything enhances the storytelling, with surprises along the way.

0–1Choppy editing, cuts at random, pulls the audience out of the story.

2–3The film doesn't run smoothly but the viewer can manage. First attempts at interesting cuts.

4–5Editing is seamless, the film runs smoothly, nothing particularly impressive. VFX is present but still obvious.

6–7Interesting attempts and a few risky calls. The editing supports the other filmmaking elements. VFX enhances the world but is still identifiable.

8–9Confident and experimental editing, noticeable in a positive way. Specific memorable cuts. VFX greatly supports the story.

10Seamless and extremely satisfying, with intricate cuts and memorable moments. VFX blended with reality — if the viewer didn't know it was a film, they'd believe it was a documentary.

0–1The audience leaves with a decreased number of neurons.

2–3The purpose is confusing or the viewer couldn't find it. The audience leaves without knowing why they came.

4–5The basic purpose is grasped but difficult to decipher or too on the nose. No risks taken in exploring where the story could go.

6–7Enjoyable, achieves an easy purpose. Generally a crowd pleaser. Darker subjects are touched upon but never centred.

8–9The viewer feels the impact of the film, and the experience can change on each viewing. The subject matter isn't always handled with complete care but it isn't deeply offending.

10The film touches on multiple relevant subjects in a sensible manner. The viewer comes out with new interrogations and relates personally to its deeper meaning. It never gets stale.

This boundless category serves personal bias and allows the marker to let their opinion colour their work. Appearance of certain actors, fondness for specific camera work or locations, preferences of genre and theme — music, directors, cultural differences, childhood, upbringing and education all shape the way we see film.

It is the least reliable mark — which explains the lack of set score boundaries — that fulfils a human need to protect and defend our personal favourites. It can also be used as an "I recommend" mark.