Sentences with phrase «do horror characters»

Do horror characters make choices because of the requirements of the genre, or because of their own decisions?

Not exact matches

Its stylish directing, vicious violence and effects, and focus on the character and choice as the basis of horror have been done time and time again, and never to the level that

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

Played ominous from the outset there are some scares here, although with a nearly equal amount of «the dumb characters doing dumb things» schtick that plagues horror films like the Ebola virus gone rabid.

Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don't understand.

I will admit I had some trepidation when I first heard they were making another season of Stranger Things, and this is exactly why: it doesn't make sense that this same town keeps getting attacked over and over by horrors from beyond, plus now all the mystery of the first season is drained away and it is nearly impossible to create believable drama for the characters that can compare with

It's a very accomplished horror feature that doesn't sacrifice characters for cheap scares, and celebrates its excellent effects work with beautiful cinematography and a love and respect for its creatures.

It has some clichés here and there that could have been avoided and the characters sometimes don't seem to be the brightest people in this sort of situation, but still this atmospheric horror movie works quite well, especially in a second half that can be really unnerving.

Don't Breathe revives one of the horror genre's most convenient tropes: what happens when a group of genuinely rotten characters find themselves up against someone so much worse?

The movie is neither funny nor particularly scary for a supposed horror - comedy, and the characters are so awful right out of the gate that you don't care whether they survive or not.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

Not only do they have one hell of a director in place, but they've got one who knows a thing or two about the horror genre and considering he'll be responsible for some of horror's most classic characters, I'd say that's a pretty good thing.

But Allen did perfect the survivalist formula that propelled many disaster movies (and countless horror movies since), in which an assortment of characters band together under the leadership of one shrewd and decisive individual to escape from an enclosed space before time runs out.

Naomi Watts — so wonderful in better horror fare like The Ring or thrillers like Mulholland Drive and Funny Games — does the best she can here with a comparatively inferior character, but Charlie Heaton, who broke out as the protective and lovelorn older brother in last summer's Stranger Things, and Jacob Tremblay, Oscar - nominated for his role in 2015's Room, are stymied in roles that require too little in the way of nuance or are lacking in enough screen time to show real depth.

Of course it defies genre — it's not primarily a horror movie or a suspense thriller but simply a character study, with the delicacy that term typically implies but also with a freakishness it doesn't usually portend.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

There are a couple of setup / payoff moments that I didn't see coming, and the characters are clever, rather than simple horror movie fodder.

Actors cast on their looks alone, writing ranging from «so stupid it's laughable» to «so ersatz - profound it's laughable», and characters so devoid of genuineness that we not only don't care if they die, but we may actually cheer when they do all contribute to making what could have been a breath of fresh air into just another dumb teen horror flick.

It's nice to see that someone can take a character - focused horror movie that doesn't rely on cheap scares or «clever» twists.

Owen Wilson, who I don't even remember being in this, gets a lot more to do than I remembered, complete with not just the misfortune of being the «horny guy» in a horror movie, but a functioning character arc that adds some middle act intrigue to the whole affair.

This alarming horror film, a brilliant debut for Australian director Jennifer Kent, is as hard to shake as its title character whether you take it as a straightforward monster film, a mental illness or grief allegory, or get hung up on its minefield of taboos (mothers who don't much like their children / over-medication of children / weapons in schools).

The joy of What We Do in the Shadows is that it's not so much mocking horror films so much as it is using characters whose traits are relatively well - known throughout all forms of media for centuries.

He doesn't rely on an intrusive music score or shock tactics (as you'd maybe expect from a director who cut his teeth on a low - budget horror movie) but wisely pairs events down and allows the tension and suspense to build assuredly around natural characters, performances and events.

When characters die, it doesn't hit home, almost like a poor teen horror.

The meta - level layering and critical dialogue about horror movies in this sequence (characters with little to no development, predictable scare setups, and shocking turns that don't make much sense) are calls for variation that Kevin Williamson's script leave largely unanswered once the plot proper kicks into gear.

Being a huge fan of Chloe Moretz who is no stranger to the horror genre (Let Me In), I think she is going to do a fantastic job with the iconic character.

I felt really strongly that what we have here is so beautiful and the way that the character develops, the way it's paid off, and not only that, the horror of trying to manufacture something that — I don't even know what it would have been, but something for the end of this movie that leaves it in a place where the transition is easier, the idea of, «Oh God, how would you fake something like that, and how would it not be terrible?»

It plays with standard horror movie characters, styles, and clichés but completely one ups them by taking it to the next level and doing something so completely original in the second half of the movie.

And while the cast is wall - to - wall great, what's notable (for genre fans, anyway) is that the title character is played by none other than Anya Taylor - Joy, who broke out in this year's hit horror movie The Witch — only now it looks like she's the one doing the tormenting.

We don't watch horror or experimental films for finely drawn character studies but for their particular attention to what film theorists call «excess,» the stuff (color, music) that goes beyond the imperatives of most cinema, whether it's the excess that takes monstrous or supernatural shape in horror, or the material, structural, and textural excess of experimental films.

A few films in recent years have played predominantly on the element of sound in horror films — Don't Breathe and Hush both being textbook examples of sound design becoming a living, breathing character — but A Quiet Place takes it to the next level.

Typically, horror movie characters are so dreadful or poorly developed their lives don't matter.

It's very seldom you find a horror film with actual scares, human characters you can care for and an idea to get excited about, but filmmaker David F. Sandberg (who's also behind the upcoming ANNABELLE 2) finds a way to do so.

Unlike so many female characters in horror before her and since, Sally doesn't whimper and rely on the villain's conscience to save her.

Written by Max Landis (Chronicle, American Ultra), Victor Frankenstein isn't so much a re-imagining of Mary Shelley's iconic 1818 sci - fi / horror novel, «Frankenstein; or, The Modern Prometheus»; rather, it's an origin story for the eponymous character, as seen from the perspective of Igor (who didn't originate in Shelley's source book, but rather in a subsequent movie adaptation).

What The Amityville Horror misunderstands is that if you invest just one character with a personality, then getting scalded by a teapot becomes an unbearable possibility — but if you fail to create a single compelling character, then anything you do to them elicits disinterest or mirth.

Hendricks seems to be the only one trying and does give an admirable performance, but the writing placed on her and the rest of the characters make them feel like cardboard cut - outs of every other cliché horror teenager.

Son of Saul: Hungarian director Laszlo Nemes has produced a Holocaust film here that, rather than pulling back to reveal the global - scale horror, pushed in ever more tightly on one character, to show that the horror doesn't abate when the millions of victims are boiled down to however many you can see with your own limited perspective.

Why do you feel it's important to feature returning characters in the sequels, especially since so many horror franchises don't continue that continuity in each installment?

And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image than the crucifix scene?

During an interview with New York radio station Hot 97, the revered actor questioned why British actor Daniel Kaluuya was cast as the lead character in the breakout horror film Get Out, which addresses racism in the U.S.; Jackson wondered why an African - American didn't get the role.

They were going to make a whodunnit slasher with a new villain (Ghostface) who preys on a group of teenagers and Neve Campbell in particular, but they were going to do it with one significant twist — as in reality, many of the characters would know horror films and the cliches and «rules» that came with them.

It has nothing of the depth and complexity of, say, Lady Bird (2017), but it does the job of making the horror properly horrific: These are fully rounded characters the audience cares about when bad things happen to them.

With only a few minutes left, when you are wondering why our main character doesn't seem to recall any of the past horrors, writer - director Dean Jones, like a toddler proudly pointing to what he's deposited in the bowl, reveals that our lead has been suffering from... amnesia!

It's a good idea, yet the movie, despite its oppressing vision of an urban gothic landscape, turns into a fairly standard horror tale — with visions, which might be repressed memories come to life or phantoms from the other side, terrifying the characters with little logic (It's strange that the original — or, for that matter, this remake — doesn't consider the most obvious possibility: brain damage).

Like characters in one of those zombie movies where no one says «zombie,» the crew of the Cloverfield space station — a big metal psilocybin mushroom orbiting near - future Earth — doesn't know what it's in for, having left our planet without ever having seen a single sci - fi horror movie: not Alien, not Event Horizon, and...

It's Got: An impressive Ryan Reynolds doing his best Jack Torrance impression minus the grotesque gurning (no mean feat); the great Philip Baker Hall having his inestimable talents somewhat wasted in the rôle of local priest and would - be exorcist Father Calloway; Lisa (Rachel Nichols) the babysitter from hell - although not literally, unlike several other of the films characters; and a brisk economy that more ponderous, minute - heavy horror films of recent times would do well to emulate.

Easily their equal is young Ashleigh Cummings as the long - suffering Vicki, who spends much of the film chained to a bed, but still does an impressive job of creating a three - dimensional character we grow to care about well beyond the trappings of a basic horror movie victim.

It also features some rather generic characters doing all the frustrating things that people in horror movies have done for decades.

Meanwhile, Olivia Wilde starts off doing something in the vein of her House M.D. character, but eventually steals the show by portraying a genuinely creepy and frightening horror movie villain.