Different magazine film reviews from different publications in terms of written codes

Written codes are vital in identifying the target audience, this is apparent by the language used in the review. For example 'Sight and Sound' is a in-depth British magazine and they accomplished these using the written codes. the language is formal, well written and structured. no coloquial language is used as the audience is targeted at a much older upper class readers. A magazine with this much information shows clear unbiased research went in before the review was written showing a much higher status over other magazines. Their reviews are cultured and non- inclusive. An example of the written codes could even be identified from a online review.
Example: 'The Cabin in the Woods'

'Drew Goddard and producer Joss Whedon’s marvellous meta-monster horror may be smarter (and funnier) than it is scary, says Kim Newman'

'Spoiler alert: this review gives away a major plot twist'

'When Boris Karloff hesitated during the filming of the sequence inFrankenstein (1931) where the Monster accidentally drowns the little girl, director James Whale persuaded him to go on by arguing that the sacrifice of an innocent was ‘part of the ritual’. Director Drew Goddard and producer Joss Whedon, who co-scripted The Cabin in the Woods, have spun this stray thought into an entire movie, taking the self-awareness of the Scream franchise even further into postmodernism by positing a world preserved from primal chaos only by a series of ritual sacrifices that take the form of horror movies. These sacrifices are masterminded by a clandestine global organisation, whose latest project involves a group of five young friends spending a weekend in an isolated cabin.'

'An amusing running joke keeps the film abreast of the Japanese arm of the organisation, which is having a gaggle of Kyoto schoolgirls terrorised by a floating ghost who is ultimately exorcised by being confined to the body of a happy frog, while monitors show the aftermaths of similar projects around the world as evil lairs burn down or giant apes lie dead in ruins. This is the most monster-happy movie since Anthony Hickox’sWaxwork (1988) and Waxwork II: Lost in Time (1992), and similarly finds a climactic excuse to unleash a horde of every imaginable menace on the labcoats who have supervised the project: a bat-vampire, killer robots, a knock-off of the Cenobites from Hellraiser, a giant snake, a werewolf, zombies, a killer tree, a giant spider, a disturbing ballerina with a tooth-ringed maw for a face, and a Lovecraftian/Creature from the Black Lagoon-ish merman. Also amusing is the moment when each of the kids in the cabin finds an object in the basement that might summon a specific monster, tipping this into a different subgenre of body-count horror picture, before a Latin passage in the diary turns it into a zombie/torture-porn hybrid.'

As seen above the language and format used is much more in-depth than usual magazines they talk about movies like an art and expect the reader to understand.

Another example to compare different written codes to is in-house magazines. As these magazines are given out for free by the cinema the language is colloquial and informal as it should appeal to everyone, the text is bias but basic to draw more customers , the structure is kept so simple with more pictures this magazine is aimed at anyone. This concludes why written codes is so important as it does generate its target audience through the language and format.