Assessment is a cornerstone of effective teaching and can create massive change in your school, providing vital information on student learning, guiding instructional decisions, and ensuring that educational goals are being met. However, traditional assessment methods, often focused on rote memorization and standardized testing, may not fully capture the depth and breadth of student understanding in today’s dynamic educational environment. To meet the demands of modern classrooms, teachers must embrace innovative assessment strategies that are flexible, inclusive, and aligned with 21st-century learning objectives.
This article explores the evolving landscape of assessment, differentiating between formative and summative assessments, and highlighting the role of professional development in mastering these techniques. It also offers practical tips for teachers looking to enhance their assessment practices, ensuring that evaluations are meaningful, equitable, and supportive of student growth.
The Changing Face of Classroom Assessment
In the traditional model of education, assessment was often a final step in the learning process—a summative event designed to measure what students had learned at the end of a unit or course. While summative assessments remain important, there is a growing recognition that they represent just one piece of the puzzle. Modern education increasingly emphasizes the importance of formative assessments, which are ongoing processes that inform instruction and support student learning as it happens.
1. Formative vs. Summative Assessments: Understanding the Difference
Formative Assessments: These are informal, often ungraded assessments that take place during the learning process. The goal of formative assessment is to monitor student learning and provide feedback that can be used to improve both teaching and learning. Examples include quizzes, class discussions, peer reviews, and observation. Formative assessments are integral to a responsive teaching approach, allowing educators to adjust their instruction based on real-time insights into student understanding.
Summative Assessments: These are formal, graded evaluations that occur at the end of a learning period, such as a unit, semester, or course. Summative assessments aim to evaluate what students have learned and to what extent they have achieved the learning objectives. Examples include final exams, standardized tests, and major projects. While summative assessments are crucial for measuring outcomes, they often don’t provide the immediate feedback needed to guide instruction during the learning process.
Innovative Assessment Methods for the Modern Classroom
As education evolves, so too must our approaches to assessment. Here are some innovative strategies that teachers can incorporate into their classrooms to better assess student learning in a holistic and meaningful way:
1. Portfolio Assessments:
Portfolios are collections of student work that demonstrate progress, achievement, and growth over time. Unlike traditional tests, portfolios allow students to showcase a range of skills, including creativity, critical thinking, and problem-solving. They also provide a more comprehensive view of student learning by including various forms of work, such as written assignments, projects, and reflections. Portfolios can be particularly effective in subjects like art, writing, and project-based learning.
2. Performance-Based Assessments:
These assessments require students to apply their knowledge and skills in real-world or simulated scenarios. For example, instead of taking a written test on a scientific concept, students might conduct an experiment, present their findings, or create a model. Performance-based assessments are valuable because they assess not just what students know, but how they can use that knowledge in practical, often collaborative, contexts.
3. Peer and Self-Assessments:
Incorporating peer and self-assessment encourages students to take ownership of their learning. Peer assessment allows students to review each other’s work, providing constructive feedback and learning from their peers. Self-assessment helps students reflect on their own progress, strengths, and areas for improvement. Both methods foster a deeper understanding of learning objectives and promote metacognition, which is critical for lifelong learning.
4. Digital and Adaptive Assessments:
Technology offers new avenues for assessment that can be both engaging and personalized. Digital assessments, such as online quizzes and interactive simulations, can provide immediate feedback and adapt to the individual needs of students. Adaptive assessments adjust the difficulty of questions based on student responses, ensuring that each student is challenged at the appropriate level. These tools can be especially useful in differentiated instruction, allowing teachers to cater to a diverse range of learning needs.
5. Project-Based Assessments:
Project-based learning (PBL) integrates assessment into the learning process by requiring students to complete complex, multi-step projects that demonstrate their understanding and application of key concepts. PBL assessments often culminate in presentations, reports, or physical products that are evaluated based on a rubric. This method encourages deep learning, collaboration, and critical thinking, making it a powerful alternative to traditional exams.
Aligning Assessments with Learning Objectives
To be effective, assessments must be aligned with the specific learning objectives of the course or unit. This alignment ensures that assessments are measuring what they are intended to measure and that the results accurately reflect student understanding.
1. Define Clear Learning Objectives:
Before designing assessments, teachers must first establish clear, measurable learning objectives. These objectives should outline what students are expected to know, understand, and be able to do by the end of the learning period. Objectives should be specific, achievable, and aligned with broader curriculum standards.
2. Use a Variety of Assessment Methods:
Different types of assessments provide different insights into student learning. By using a variety of methods—such as quizzes, projects, essays, and presentations—teachers can capture a more complete picture of student achievement. This approach also allows students to demonstrate their learning in multiple ways, catering to diverse learning styles and strengths.
3. Develop Rubrics and Criteria:
Rubrics provide a clear framework for evaluating student work, outlining specific criteria and performance levels. Well-designed rubrics help ensure consistency and fairness in grading, while also providing students with a clear understanding of what is expected. Rubrics can be used for both formative and summative assessments, offering a structured way to provide feedback and guide student improvement.
4. Continuously Review and Adjust:
Assessment strategies should be regularly reviewed and adjusted based on their effectiveness in measuring student learning. Teachers should reflect on assessment outcomes, seek feedback from students, and make changes as needed to better align assessments with learning objectives. This iterative process helps ensure that assessments remain relevant and meaningful over time.
The Role of Professional Development in Mastering Assessment Techniques
To stay at the forefront of effective assessment practices, teachers must engage in ongoing professional development. This continuous learning helps educators refine their skills, stay updated on the latest research, and implement innovative strategies in their classrooms.
1. Attend Assessment Workshops:
Workshops focused on assessment techniques provide hands-on learning experiences, allowing teachers to explore new methods and tools in a collaborative setting. These workshops often cover a range of topics, from designing formative assessments to using technology in assessments. Attending these sessions can provide practical insights and inspire new approaches to assessment.
2. Enroll in Online Courses:
Online courses offer flexibility and depth, allowing teachers to dive into specific aspects of assessment at their own pace. Platforms like Coursera, edX, and FutureLearn offer courses on educational assessment, formative assessment techniques, and data-driven decision-making. These courses often include case studies, interactive activities, and opportunities for reflection, making them a valuable resource for teachers looking to enhance their assessment skills.
3. Join Professional Learning Communities (PLCs):
Professional Learning Communities are networks of educators who come together to share ideas, strategies, and resources. Joining a PLC focused on assessment can provide ongoing support and collaboration, helping teachers stay informed about best practices and emerging trends. PLCs can be found within schools, districts, or online communities.
4. Read Educational Assessment Literature:
There is a wealth of literature available on the topic of educational assessment. Books such as “Classroom Assessment & Grading That Work” by Robert J. Marzano and “The Formative Assessment Action Plan” by Nancy Frey and Douglas Fisher offer valuable insights into effective assessment strategies. Regularly reading up on the latest research and theories can deepen teachers’ understanding and inspire new approaches in their classrooms.
5. Participate in Reflective Practice:
Reflective practice is a key component of professional growth. Teachers should regularly reflect on their assessment practices, considering what works well and where there is room for improvement. This reflection can be enhanced by peer observations, student feedback, and self-assessment, creating a continuous cycle of learning and improvement.
Conclusion: Elevating Assessment in the Modern Classroom
Effective assessment is not a one-size-fits-all process—it requires careful planning, alignment with learning objectives, and a willingness to embrace new methods and tools. By incorporating innovative assessment strategies, aligning assessments with clear objectives, and engaging in ongoing professional development, teachers can create a more responsive and equitable learning environment.
For modern educators, mastering the art of assessment is an ongoing journey. With the right tools, strategies, and mindset, teachers can transform assessment from a mere evaluation tool into a powerful driver of student growth and success. As the educational landscape continues to evolve, so too must our approaches to assessment—ensuring that every student’s learning journey is recognized, supported, and celebrated.
The visual progression of horrifying imagery is stunning. The sleep experiment costumes have a Tron meets Captain EO vibe and I really dig them. The script is solidly disturbing. In all honesty, I was locked in until the very final scene which for me stepped into “Huh?” territory. I’ve now watched this film twice. The second viewing was a lot more telling. I have new theories. That being said, the rest of the film is so powerful, Come True is completely worth your attention. Thoroughly engrossing original visuals and storytelling are ramped up by Electric Youth and Pilotpriest’s synth score. It manages to wrap itself around you and immerse you in fear. Each of these elements creates an experience making Come True its own entity. It may give you your own new set of nightmares.
It sounds like the stuff of science fiction but the discoveries that have come from the study of Black Holes are actual science. Stephen Hawking has essentially told us that everything we know could be an illusion. Black Holes do not follow any laws of physics. That idea is mind-blowing. As humans, we year to understand the structure of the universe. The challenge continues to be that seeing is believing, even for scientists.
In Black Holes: The Edge of All We Know, a group of scientists called Event Horizon Telescope (EHT) are collaborating around the globe. They have set up stations around the world to communicate with one another to act as one massive Earth-sized telescope in an attempt to capture the first image of a black hole. The amount of data is larger than any other experiment, ever. As the information finally gets developed into images in 2018, they were deemed top secret. They didn’t even share the images among the 4 EHT teams until they were finally in person. The final picture shared with the public in 2019 is simply breathtaking. This is when theory becomes reality.
Before his passing, Stephen Hawking and colleagues thought that information was not actually eaten by black holes but that some information makes an imprint and comes back. How much? That’s just another mystery they’re trying to figure out. They work tirelessly through equations on chalkboards, step back and wonder if anything they’ve just done makes sense. Stephen would enter the conversation and flip the work on its head. Watching them work through possibilities is like watching a tennis match of genius. Witnessing how each mind contributes is incredible. Sasha Haco, Malcolm J. Perry, and Andrew Strominger continue what the four began together. The work continues.
If you are someone who watched the most recent rover land on Mars and cried, as I did, you will be captivated by this film. With an effective score, beautiful black and white animation, and real-time tracking of their project, your heart is in your throat as you root for their success. You’ll learn things you never knew were possible. Black Holes: The Edge of All We Know is a fascinating look at the minds and circumstances pushing the boundaries of the unknown. This is the stuff of dreams, science, the human spirit, and a little bit of magic.
G. O. Parsons‘ screenplay is so batshit it works. A possessed weasel, a fairy, a turtle, an alligator, a chameleon, a gorilla, a knight, and an Ostrich provide us with hilarious and gruesome kills and calamity. The Janitor’s mission of cleaning this damn place will not be deterred. There will undoubtedly be comparisons to the Five Nights at Freddy’s games and The Banana Splits movie but who cares. WILLY’S WONDERLAND has execution that is out of this world. The creature, set, and prop builds are wild. Attention to detail is award-worthy. My mother used to work at a Chuck E. Cheese. The atmosphere built for Cage and company to exist in is spot on. The handheld camerawork is dizzying and fantastic. The lighting is often enhanced with a black light hue that is simply delicious. It’s a funhouse of horrors. This is a genre fan’s dream watch. The practical FX are bloodsoaked and brutal. The soundtrack is epic. You will be singing Willy’s theme over and over because it balances on the edge of maniacal, weird, and wonderful. Where can I buy that and an official Willy’s Wonderland t-shirt? I’m as deadly serious as The Janitor.
There is no female equivalent for the phrase “Ballsy”. What would that even look like? Lippy? I BLAME SOCIETY is extra lippy. Starring as a version of herself, filmmaker Gillian Wallace Horvat says all the quiet parts out loud. Then she acts on them just to make a point. And goddamnit, virtual high five from me. This script is unapologetic, bold, and genuinely hilarious. It’s the “die for your art” meets “tell me I can’t and see what happens” mashup I didn’t know I wanted. Highlighting the ridiculously misogynistic side of the industry in the smartest ways. When the phrases, “This is a really big opportunity for you!” “You’re like the female him!” “We need an ally on your side!” I died laughing and I died inside. But the film also tackles social media, communication, and ambition all inside a twisted presentation of Dexter-esque mayhem.
The pace leading to murderous activities works so well to build up a tense WTF feeling. It’s just so imaginative and absolutely terrifying. You get to a point where you stop thinking it’s funny and start genuinely worrying about everyone she encounters. Wallace Horvat is awesome. I wanna hang out with her in real-life and make fun of everything that she makes fun of in this film. She knows exactly what she’s doing even as she leads you to believe otherwise. She has an overtly narcissistic sociopath nuance to “Gillian” and nothing short of that would have worked as well. When she references makeover sequences, I laughed out loud and then immediately gasped exclaiming, “Holy Shit! That’s her actual hair!” When you see it you’ll fully understand.
The DIY look of the camerawork makes it even more relatable, especially after last week’s Twitter battle claiming “you can’t make a film with just an iPhone.” I BLAME SOCIETY is a giant middle finger to still male-dominated and faux #MeToo accountability in Hollywood. And not just the film industry. I’ve been on the other end of these conversations, yes in writing rooms and screening rooms, but also retail jobs, teaching jobs, do I need to go on? Even outside that theme, I BLAME SOCIETY is for every single person obsessed with true crime yelling at the TV, “The Husband did it,” or “You know what I would have done…” We get to sit back, relax, and watch someone else live out our darkest fantasies and that’s satisfying and entertaining.
Now, the scary. This is a double-edged sword for me. While the creature makeup of The Devil is one of the most successful parts of the film visually, the ways in which he is utilized felt cheap. For me, it was a reason to exploit Kirk. It makes zero sense to have her fornicate (probably the first time I’ve used that word in earnest) with The Devil, without that being a major plot point that comes to fruition. It takes away from the overall feminist narrative of the film. I absolutely loved being terrified by the appearance of The Devil. Those moments stick in my head for their fright factor but make me cringe when used tom over sexual a character who is already sexually harrassed over and over for her appearance. This film might fair better if those scenes are cut altogether. The climax is most certainly unexpected and incredibly satisfying. Although with a runtime of 1 hour and 51 minutes, The Reckoning could lose a good 30 mins. Neil Marshall and Charlotte Kirk set out to highlight the atrocities committed against women in a time of fear, sickness, and paranoia. They are able to tell this story through the experiences of Grace and even a few ancillary characters associated with her. The real-life horrors are enough.
The Right One
Procrastinating romance novelist Sarah is attempting to finish her third book after breaking up with a longtime boyfriend. It’s not going well. Her agent Kelly forces her out into the dating scene causing her to repeatedly stumble upon a mystery man with many different personalities. Can she figure out who he is and in return also discover her true self? The Right One is laugh out loud funny from beginning to end. Though it’s not simply a rom-com, it’s much more complex. The script is rightfully presented in three clean acts. It allows the characters to develop naturally. 35 minutes in we get our first clue to Godfrey’s past and it is unexpectedly dark. While the funny doesn’t stop, it lets the cast explore the underlying messages in writer Ken Mok‘s directorial debut.
Iliza Shlesinger is basically playing her standup self and I mean that as a compliment. Her aggressive manner is pure magic for this role as Sarah’s literary agent. But don’t let her fool you, there’s a softer side hiding in there even if just a little bit. I can see her acting career turning out to be akin to Kathryn Hahn‘s. I would put money on it. Cleopatra Coleman as Sarah is exactly who we need. Solid romcom sweetness with an edge. I could watch an entire series of her being quirky. She’s a damn delight. Nick Thune has a total Bill Murray/ Steve Martin energy. It was like watching an incredibly curated improv show. He is charming as hell. His chemistry with Coleman is fun and natural. I was first introduced to his amazing abilities in the fantastically weird and wonderful indie, 
The Right One taps into a lot of very real fears that dating and relationships bring. Opening up yourself to potential hurt but also actual love and acceptance. We see abandonment issues and self-doubt, jealousy, and trauma. . You’ll laugh and be forced to look at some of your own flaws along the way.
This stunningly gorgeous sci-fi film has so much potential. What drags it down is the amount of information we’re missing. A lot of the backstory is buried inside writer/director Nicholas Ashe Bateman’s mind. It’s juicy, no doubt. Uniquely told. It would be glorious as a stage play. There’s enough intrigue in The Wanting Mare to indeed sustain a series of films, as is the intention. The audience has to commit themselves to what they are given. It’s a lot of trust to put in the viewer. What is abundantly clear is that there is a cyclical nature to the female characters and that these elusive tickets put a target on your back. This script is filled with people lying to each other, either to protect someone or keep them from leaving. It’s an interesting concept. The horses are treated similarly to unicorns in Legend. A commodity, yes, but also they must be protected at all costs.
Performances, across the board, are excellent. While there are a lot of characters to track, there is not a single actor who lets you down. Each beat is curated. This cast left it all on the screen. 
This is a fearless film. There is nothing shy about it. Writer/director/editor/DP Ben Hozie has given us an unapologetic look at sexual impulse, gratification, and all the complex feelings that come along with it. It’s not often we see an actor do full-frontal nudity. Leading man Peter Vack is not just full-frontal but masturbates (a lot) in PVT CHAT. And so he should. His character Jack has zero stability in his life with the exception of his need to connect with other humans. This is mostly achieved through cam sessions. While sexual gratification is s short-term goal, he’s really looking for companionship. He’s a great online gambler, that’s how he survives monetarily. At the heart of it, he has fallen in love with a girl he doesn’t completely know is real. Vack is excellent. His vulnerability pours off the screen. His portrayal of a seriously flawed and real human being is stunning.
Rosie is trying to figure out who is responsible for the death of her sister, Amelia. A year afterward, she is obsessed with watching her old YouTube diaries for any sort of clue. The darkest side of the internet comes to light in this unapologetically raw indie. We live in a world where a single tweet can incite violence. But since the beginning of the internet and chat rooms, pedophiles have stalked kids, acted like peers, and lured them into unsafe situations. People don’t seem to grasp the permanence of posting online. The consequences can be life-altering. 
Marc Menchaca stars in another unsettling role, post 
#Like a great companion piece for 
Mimi is me as a kid; overly dramatic, kooky, aggressively brimming with sass. I played with all the boys, digging holes, making forts, playing with stick lightsabers. Am I obsessed with the fact that PG: Psycho Goreman is energized by a truculent little girl?! Hell yes. Do I love the fact that it’s over-the-top in every single way? You betcha. Is this one of the most fun viewing experiences I’ve had in lockdown? 100%. It’s a genre-bending romp of relentlessly violent, gore-filled, sci-fi weirdness and I am here for it all.
Essentially, if you’ve ever been a genre nerd, you’ll love this film. Think Peter Jackson‘s splatstick trilogy, add a pinch of The Gate, with a side of Saturday morning cartoon realness and you can begin to comprehend what this film is. The costume and creature builds are out of this world fun. Every single detail of Psycho Goreman screams an homage to fans. It feels like it was tailormade for my 40-year-old self, and I will continue to tell myself this lie.
The chemistry between cast members is outstanding. The family dynamics are hilarious. I hope I talk to my kids that way when they get to be Mimi and Luke’s age. The dialogue is delivered with such commitment, it’s magical. The kids interacting with PG will force a grin that just won’t go away. Writer/director Steven Kostanski, who I already knew from his ABC’s of Death 2 segment, really gets it. You can tell from his extensive resume that he’s a fan that not only writes for an audience but for himself and I cannot wait to see what’s next. PG: Psycho Goreman is destined for cult classic status. If I don’t see this costume pop up at a future Comic-Con, I will be shocked.
Sir Walter Scott said it best in his poem “Marmion”, ‘Oh, what a tangled web we weave,/ When first we practice to deceive!’ The genius of this script is the storytelling structure. Minutes in you understand that our leading lady is caught in a web so large she cannot get out now. The relentless danger he allows herself to be in is astounding. The audience is constantly waiting for the other shoe to drop. Now that I have had time to sit on my viewing, I am actually aghast at the pace of the film. It barrels along in its deception and doesn’t let up for a minute. While there is clearly a backstory that predates the present timeline in White Lie, I found the lack of information all the more intriguing. I was forced to make assumptions thus leading to, perhaps, a completely different take than anyone sitting next to me. Bravo to writers/directors Yonah Lewis, Calvin Thomas for being bold enough to make such choices.
Kacey Rohl‘s performance as Katie makes the film as enthralling as it is. Her ability to make you loathe her and sympathize with her is uncanny. You understand that the complexity of this role is massive. She absolutely nails it. White Lie will have you uncomfortable from start to finish. It will be impossible to look away even though you’ll feel as entangled in the lies as Katie. It’s quite masterful.
Rarely do I stop a screening link every 5 to ten minutes and reiterate what is happening out loud to my husband. While viewing Alex Knapp‘s post-apocalyptic psychological thriller GO/DON’T GO, I did just that. I was so intrigued I had to share all of the subtle genius happening on screen from beat to beat, sometimes blink-and-you-miss-it imagery. The meticulous thought that went into this script is noteworthy. The breadcrumbs are laid out to entice your imagination with theories. Here is what I can glean from what I saw, stay with me; Agam and K are dating, an unknown world event happens, in a panic, they try to make their way to the mountains to better assess the situation. Something goes awry and K disappears, leaving Adam as the sole human left on Earth. What we and Adam are left with is to piece together disjointed information to try and escape what feels like a little bit of a purgatory-esque version of Memento. Yup. Until the final image, I wracked my brain as to the innumerable possibilities that this story presented me. Was Adam in hell? Was Adam in a parallel timeline? Was Adam insane? Is this an allegory for grief?
GO/DON’T GO could easily be developed into an entire series based on the flashes of information we receive in a 1 hour and 30-minute runtime. What’s with the lightbulb diary? How is all the food so fresh? Why is there still electricity at all? Where is his dog? *Silent scream* I want to know so much more, but completely respect the fact that a massive mystery still remains. If you want to run and tell people and/or ask them if they’ve seen this film while on the festival circuit, well I don’t know what a bigger compliment you could give a first-time filmmaker. Alex Knapp is not only captivating in the role of Adam, but he clearly understands how to effectively build suspense with his writing. He holds the viewer captive with questions and punctuates those moments with a superb soundtrack. The ever-changing lighting is haunting. GO/DON’T GO grabs you from the very first scene and keeps you guessing until the screen goes black. The thought that went into this film is palpable. While I still have so many things I want to know about the ending, I am a cheerleader for Knapp. Whatever’s coming next, I want it now.
The contentious relationship between Devon Sawa and Camille Sullivan is what makes the initial framework of this film so intriguing. With Anne longing for more traditional stability for her family, Joe thrives in the wilderness. Trapping is just not meeting their monetary needs any longer. With their daughter Renee to protect, they are in for a bigger surprise than running out of food and a rogue wolf on the prowl. Hunter Hunter goes to a place so dark, you won’t be able to get it out of your head.
The survivalist and tracker methods ring true. Sawa, who has been churning out films the past few years, once again holds the audience captive with his presence. I’ve stated before that his talent is often overlooked. His commitment to a role is stellar and he’s a lovely human in real life. Here his portrayal of Joe is steadfast and loyal, with a side of heroic intention. His chemistry with Summer H. Howell as daughter Renee is a touch reminiscent of Ben Foster and Thomasin McKenzie in Leave No Trace. Howell gives a “raised off the grid”, tough as nails, but thoroughly innocent age-appropriate performance. It’s just right. Nick Stahl and Devon Sawa in one movie together, have made my schoolgirl fantasies a reality… in the most satisfying, genre nerd girl way. Stahl is downright scary. You can read the unspoken backstory he’s given himself in his posture and gaze. It’s startling.
Camille Sullivan has been written as a fully nuanced woman, forced to activate her Mother Bear instincts. The power she brings to this film is unmatched. This cast has to not only contend with a terrifying script but the elements of filming in the wilderness. I have so many questions since the credits rolled but the mystery that remains isn’t even relevant when the screen goes black. You are simply left in shock.
That sharp turn in the plot blows up everything you think you know about how this story will end. Your heart will be in your throat for the final 3rd. Writer/director Shawn Linden has given us one of the most disturbing films of 2020. The utter carnage, both emotional and physical, inflicted on this cast is brutal. The visceral horror of that befalls the viewer is skin-crawling and nausea-inducing. Hunter Hunter is complex and precisely crafted. Camille Sullivan‘s performance will go down as one of the most iconic final girls, ever.
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