Sentences with phrase «as a horror film from»

As a horror film from a first - time feature - film director, it's far from a prototypical Oscar contender.

Not exact matches

This classic German silent film from the 1920s (which some regard as the first horror movie) follows an insane doctor who uses a sleepwalker to commit murders.

As a low - budget horror comedy outing, Severance is an impressive film that is original and lots of fun from start to finish.

It twists and turns multiple times throughout its short running time, borrowing heavily from a variety of films in the horror genre (and other genres as well), but under the sure direction and

Wunder became «hooked» on the cinema in 1950 when his father took him to the premiere of George Pal's «DESTINATION MOON» Seminal films during Wunder's formative years as a critic were: The HORROR movies of the 1950's THE KILLING (1956) Dir: Kubrick VERTIGO (1958) Dir: Hitchcock ON THE BEACH (1959) Dir: Kramer MANCHURIAN CANDIDATE (1962) Dir: Frankenheimer 2001 (1968) Dir: Kubrick Wunder graduated from college in 1963 as an Electrical Engineer and immediately got a union job as an associate film editor for MPO, then, the largest producer of commercial and industrial films in the US.

Although at times it suffers from cheesy dialogue, The Cabin in the Woods is easily on the best horror films of our time, poking fun at the cliches of horror, while being pretty scary, as at least one of your greatest fears appears, in one of the best films of 2012.

The film starts to pick up after it begins borrowing liberally from The Omen, even more liberally than the film's two predecessors which, as freak - accident horror films, are by definition Omen clones.

Wasn't too sure what to expect with this being based on a children's fable yet filmed as a serious horror / thriller flick, to my pleasant surprise it was quite enjoyable and had a nice gothic almost German expressionist type feel to it that you might expect from directors such as Burton or Gilliam.

Being marketed as a generic, run - of - the - mill horror film is the worst thing that can happen to you from a critical standpoint, but from a commercial point of view, there

Any relief at the revelation that that violence is not going down in the film's present - day reality, though, just as quickly gives way to the deeper horror about what Moll and her community might be hiding from us.

[img] http://images.rottentomatoes.com/images/user/icons/icon14.gif [/ img] The Pact feels as if it's been constructed from an infinite number of inspirations stretching from classic ghost story horror cinema to the recent wave of found footage films but at the same time because of such great execution you could never actually call it generic.

Even though it relies on a gripping feel of intense paranoia, this is an overlong sci - fi / horror movie that suffers from certain problems in logic and kills its tension with long passages that make the pacing irregular, not even being smart enough as an allegory like the original film.

Far be it from me to expect any sort of cerebral experience from a slasher about a doll, but it's evident that a degree of thought DID go into this, which makes its overall failure as a horror film all the more disappointing.

This is one of the few horror films I've seen that I would describe as beautiful and it's no wonder coming from Herzog.

The film doesn't shy away from the horrors of slavery, yet the grim material is balanced with a deliciously dark sense of humour - just check out the scene with a band of white - sheeted vigilantes, acting as a precursor to the KKK, which is one of the funniest scenes Tarantino has ever written.

The film doesn't get as much love from Variety, whose Justin Chang sees «some modestly campy pleasures» without «the delirious trash - horror verve of De Palma's best work,» and the The Playlist agrees, noting, «What Passion is lacking is, ironically, some passion.»

The film boasts performances by Brea Grant (Rob Zombie's Halloween and H2, «Dexter,» «Heroes») and 80's horror icon Barbara Crampton, who starred in From Beyond and Re-Animator before popping back up in modern horror films such as Adam Wingard's You're Next and We Are Still Here.

The night also saw a new look at the John Krasinski - directed horror film that stars himself and his off - screen wife, Emily Blunt, as a couple protecting their kids from monsters that use sound to attack.

«I wanted to create a waking dream on screen and show that horror is not to be found in the things around us but in our own subconscious,» said Danish film - maker Carl Theodor Dreyer, whose loose adaptation of two stories from Sheridan Le Fanu (Carmilla and The Room in the Dragon Volant) was initially conceived as a silent movie.

The once - terrifying creatures have now become as stale a horror sub-genre as zombies, with numerous films and television shows being churned out one after another, meaning it takes something truly phenomenal like The Walking Dead to emerge from the growing puddle of tedium.

As different as it is from Craven's vision, it is still marred by being derivative of other horror films, especially in The Amityville Horror, The Exorcist and CarriAs different as it is from Craven's vision, it is still marred by being derivative of other horror films, especially in The Amityville Horror, The Exorcist and Carrias it is from Craven's vision, it is still marred by being derivative of other horror films, especially in The Amityville Horror, The Exorcist and Chorror films, especially in The Amityville Horror, The Exorcist and CHorror, The Exorcist and Carrie.

Easier to make a buck by marketing it as a horror film «from the director of William Friedkin» than a new level of psychological torment in cinema.

Other horror films this season have ranged from arty to schlocky, but the scales tip to the latter — and that seems to be what the majority of horror fans like; they consider films such as Clive Barker's «Lord of Illusions» and even a work such as «Species» as essentially «party movies.»

Aquaman will also feature a strikingly different world from that of other superhero films - something that also extends to other upcoming superhero movies, such as Marvel Studios» Doctor Strange (which dabbles in supernatural horror) or even 20th Century Fox's Wolverine 3 (an R - Rated film with a modern - western vibe).

The result is a taut, unrelenting and frequently hilarious horror - satire that's scored a rare 100 % positive rating from critics on Rotten Tomatoes, as well as raves from hip - hop luminaries like Chance the Rapper, who recently hosted a private screening of the film in Hollywood.

Even as it detours into generic horror tropes in the final act, the film is bolstered by a complex portrayal from Powley and a screenplay that smartly sidesteps fish - out - of - water clichés and instead focuses on Anna's psychological demons.

The quintessential midnight experience, Kevin Smith's next outing as he transitions from slacker comedy to dark horror is, like most of his films, for the fans.

How did Tobe Hooper retrogress so far as to go from «Texas Chainsaw», my absolute favorite horror film to this sophomore effort which could rank as one of the worst?

Adapted from the short film by director David F. Sandberg and adapted by horror - centric screenwriter Eric Heiserrer, Lights Out may be a quick, simple, and slightly familiar piece of PG -13-level horror, but it's also a well - made and unexpectedly engaging thriller as well — with an ending that's sure to generate at least a small amount of debate among horror fans.

The film starts off rather promisingly with an engaging performance from Fabian, but eventually degenerates in style and content to a pastiche of other horror films such as The Blair Witch Project, The Exorcist, Children of the Corn, and so on.

Aside from the opening scene — during which you can hear all your fellow patrons unwrapping candy and chewing popcorn with their mouths open — it's about as noisy as any other horror film.

Until suddenly he does, and the film shifts gears from a study of trauma into a more conventional (but still eerily effective) horror movie, with Josh (who looks more than a little like Glover in River's Edge) enthusiastically casting himself in the role of psycho killer, as if trying to live up to what he worries his best friend thinks he's become anyway.

Among the anticipated highlights at the ongoing San Diego Comic - Con (SDCC), for horror fans was tonight's world premiere screening of The Woods, from director and writer duo of Adam Wingard and Simon Barrett (You're Next), but the whole event just became bigger than anyone imagined, as it has been revealed tonight that the film is actually called Blair Witch and it is a sequel the 1999 found footage classic The Blair Witch Project!

The dreamy and detached feel of the film sets it apart from most horror films, in a way that makes it sneak under your skin (heh), becoming more disturbing as you think back on it even than it was while viewing.

By its very existence it begs the question of whether this (or the upcoming Kevin Costner vehicle Dragonfly) would even have been considered if not for the success of the supposedly non-influential The Blair Witch Project: a mainstream horror film that flies in the face of conventional genre wisdom (at least since The Exorcist) in refraining from gore as steadfastly as it refuses to show its bogeyman.

We're taking our «Beauty vs Beast» series to a film that did well but maybe not as well as expected (no director, no screenplay)- Jordan Peele's masterful horror comedy Get Out, which we just happened to re-watch last night in an effort to reaquaint ourselves with a movie that was fading from memory.

The horror film stars Diego Boneta (from «Scream Queens» and Rock of Ages) as an American tourist who ends up in the town of Medellin in Colombia, befriending a local woman (played by Maria Mesa) who introduces him to «group of young misfits» that call themselves the «Dead Men».

Some pretty exciting news this afternoon as Lionsgate (The Last Exorcism, Saw, Cabin Fever) is getting back in the horror business by acquiring U.S. distribution rights to Barry Levinson's found footage eco-horror film The Bay from Alliance Films.

Laughs come from simple gags in the film, as well as really clever stings at horror movie tropes.

(«I don't make horror films,» the guy insists, as screams emanate from the speakers.)

Pretty quickly, the film turns into a horror show, with the airborne, microscopic spores from a plant on the planet serving as the way those killer aliens end up in their human hosts (Scott offers a microscope - level shot of the infection entering a crewmember's body through his ear canal, which is simultaneously frightening and deviously amusing).

«The Forest» is a fairly promising feature debut from director Jason Zada, which isn't the same thing as saying it's a good horror film.

Yet as innovative as this is, it detracts nothing from the entertainment of the film as horror.

This film is a must for any horror film aficionado, as well as any amateurs hoping to make it big from a low budget film.

A profoundly unsettling work from the great American director Todd Haynes, Safe functions on multiple levels: as a prescient commentary on self - help culture, as a metaphor for the AIDS crisis, as a drama about class and social estrangement, and as a horror film about what you can not see.

What started as a way of parodying the «Scream» films (themselves ostensibly a parody of the horror genre to begin with) has evolved into a franchise which takes shots at pretty much any movie it wants, from «Million Dollar Baby» to «Brokeback Mountain.»

Other feature directing credits include Janeane From Des Moines, set during the 2012 presidential campaign, which premiered at the 2012 Toronto Film Festival as well as American Zombie, a personal horror film, which premiered at Slamdance and is distributed by Cinema Libre.

Synopis (from festival scope): Gilderoy, a naïve sound engineer from Dorking, England, loses his grip on reality as he takes a job on an Italian horror film in the 1970s.

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

«Polaroid,» a low - budget horror film from Bob Weinstein's Dimension Films genre division, is listed in court filings among The Weinstein Company's assets, but it isn't listed as an «unreleased picture.»