Sentences with phrase «in zombie films»

The advantage such protagonists enjoy in zombie films is that anyone they might have to negotiate with has already succumbed to the sea of the living dead.

Why is it that good actors in career stasis so often wind up in zombie films?

Characters in zombie films are willing to do terrible things to each other because of the fear of zombies and the urge for self preservation, while, in the real world, things like the use of torture (or «advanced interrogation»), preemptive war and drone strikes were being debated as options to fight a threat even scarier than zombies: terrorism.

Arnold Schwarzenegger and Abigail Breslin star in a zombie film that brushes against the perceived boundaries of both the zombie genre and its star.

This film is a rom - com wrapped in a buddy comedy wrapped in a zombie film, and it's absolutely relentless.

Not exact matches

But all varieties of horror flick are easily identifiable at this point, whether they're spooky, low - budget films (numerous); viscera - stained slasher movies (more numerous); quick - cut zombie flicks (even more numerous); macabre sci - fi, floating - in - space efforts (somewhat less numerous than they should be); sexualized vampiric tales (I trip over one of these whenever I get the newspaper); films of the more critically favored retro - mashup variety (Quentin Tarantino and Robert Rodriguez's Death Proof plus Planet Terror feature Grindhouse); or foreign entries of the psychological horror variety (the works of Dario Argento, of course; Alexandre Aja's films, which have their defenders; and Juan Antonio Bayona's El Orfanato, which only someone who truly dislikes cinema can dismiss).

The event will be an interactive talk on the metaphor of the zombie in everyday life, followed by a screening of the first ever zombie film, White Zombie (1932).

The film's sequels had survivors holing up in places like shopping malls, through which zombies would wander aimlessly all day, as if retracing the steps of their former lives as consumers.

In horror films, people become zombies by whatever process is deemed scariest by the filmmaker of the era — magic, possession, viral infection — but the result is the same.

A vacuous entity that wouldn't be out of place in a post-apocalyptic zombie horror film.

We're sure you know of the original Italian band Gremlin, that was featured in Italian Splatter Cinema and George A. Romero's zombie films.

In some of my upcoming fan films I might play little bit with some zombies.

There are viral zombies that are the result of «real» zombie virus; the classic walking dead zombies made popular in the documentary films of George Romero.

I've seen many zombie moves in my time, «Dawn of the Dead» and «Evil Dead» to name a couple, and all the zombies in those films want to do is eat you!

belfast to vancouver... drums... workin in film and slayin zombies on my free time....

Direct - to - video zombie films will devour the walls of the few video stores left in existence.

I'm 21 years old, I live in New York City, I like to make short films and I'm a fan of zombies.

On the other hand, I really enjoyed seeing the odd, feral - looking beauty Mireille Enos (of TV's «The Killing») as Pitt's on - screen wife; I wish she had more to do in the film than hunker onboard an aircraft carrier with their kids, hoping the zombies won't learn how to swim.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

In fact, enough for an entire second Blu - ray disc: On disc one, there's a commentary track with star Ian McCulloch and zombie film expert Jay Slater, as well as trailers, TV and radio spots, and a poster and still gallery.

In the interest, I suspect, of holding on to the film's PG - 13 rating, Forster never lingers on any of the gory details, which renders the zombies a bit, heh, toothless.

Another factor is that the trailers and other advertisements leading up to the release of the film already show you the climaxes of the best scenes, from the aforementioned traffic jam, the zombie horde working in unison to scale a great wall, as well as jumping onto helicopters that foolishly get too close.

Trouble Every Day shrouds itself in the aesthetic of vampires and zombie lore; the poetry and pain in that film are innate in the seduction of venereal destruction, the entanglement of love and sex, love and hate, sex and death.

The direction by Marc Forster (Quantum of Solace, Stranger Than Fiction) delivers a fast - paced zombie thriller, and with Brad Pitt front and center, there is a grounding of the film in seeming more intelligent and plausible than your typical scare flick.

However, because the film ends just as humanity has managed to reach a positive tipping point, that means 99 % of WWZ's prior material follows special forces man Gerry Lane (Brad Pitt, who also co-produced the film) as he struggles to save his family from fast - moving, ravenous zombies, and then get back to the wife & girls after globe - trotting to hot zones in search of a solution to the viral contagion.

In the film production - within - the - film, the recycled story, during most of its running time, goes according to plan: the virgin's friends die, leaving Dana alone to kill the redneck zombies.

The PG - 13 rating keeps much of the actual violence off the screen, though Forster may have gone too far in removing nearly all of blood and gory moments that many zombie - flick fans relish (that crowd has dubbed the film, «World War Zzzzz»).

It flouts convention in a number of ways in service of its genre - mash - up agenda while still contributing something original to the tradition of the zombie film.

After breaking through with films made by an emerging avant garde — including Josh Trank's Chronicle, Derek Cianfrance's The Place Beyond the Pines and Josh Krokidas» Kill Your Darlings — this year the 28 - year - old actor has starred in two very of - the - moment genres, first playing Harry Osborn, Peter Parker's childhood pal turned homicidal supervillain Green Goblin, in The Amazing Spider - Man 2, and now appearing opposite Aubrey Plaza in the zombie comedy Life After Beth.

Both films are post-apocalyptic sci - fi thrillers where the the population of Earth is threatened into nonexistence in a short amount of time, while the survivors do what they can in order to keep from suffering the same fate at the hands of those who have gone rabidly insane — the zombies here aren't the slow, lumbering ones we generally associate with the genre either.

While I can certainly agree with both films not falling squarely in line with the zombies, slashers, and extreme gore features that proudly wave their horror flags, Get Out and The Shape of Water do exist in the peripherals of genre, both featuring monsters of very different ilk.

The film is holding its NYC premiere today and I caught up with Doug this past weekend at New York Comic Con to discuss his ongoing collaboration with Del Toro and, seeing as it's the Halloween season, the enduring appeal of the Disney classic Hocus Pocus in which Jones was the benevolent zombie, Billy Butcherson.

Comignsoon.net got their hands on this super low - res photo featuring Jaimie Alexander as Sif in the upcoming film «Thor» by director Kenneth Branagh (Frankenstein) and starring Natalie Portman (Pride and Prejudice and Zombies), Anthony Hopkins (The Wolfman), Chris Hemsworth (Star Trek), Samuel L. Jackson (The Avengers, Iron Man 2) and Kat Dennings.

That is the case here - there aren't any true zombies in this film which is a crime considering it's source material.

Here's the latest movie still featuring The Hall of Asgard in the upcoming film «Thor» by director Kenneth Branagh (Frankenstein) and starring Natalie Portman (Pride and Prejudice and Zombies), Anthony Hopkins (The Wolfman), Chris Hemsworth (Star Trek), Samuel L. Jackson (The Avengers, Iron Man 2) and Kat Dennings.

Allegedly inspired by the true story of a Mexican man named Gojo Cardinas who killed dozens of women under the apparent influence of his mother before being incarcerated and rehabilitated, Santa Sangre is in many ways a novel retelling of Hitchcock's Psycho (1960), with that film's psychosexual subtext here put on full display with overt symbolism (e.g. Concha, the castrating mother's name, is slang for «vagina») and mixed with elements of The Hands of Orlac (Robert Wiene, 1924), The Invisible Man and George Romero's zombie films.

Evidently the victims - turned - zombies in this film hew closer to a sci - fi - like transformation rather than supernatural resurrection.

The third film in what is being called The Three Flavors Cornetto Trilogy, a sly nod to the late auteur Krzysztof Kieślowski and a popular brand of ice cream cone, «The World's End» might lack zombies and buckets of blood, but it's easily the darkest of the three films.

This film seems to be following the latest games more closely where the zombies have been replaced by monsters and allot more action is thrown in.

In fact, it's not ever the worst zombie film with Day of the Dead in the title that I've ever seeIn fact, it's not ever the worst zombie film with Day of the Dead in the title that I've ever seein the title that I've ever seen.

Speaking to «Maggie» s zombie genre expectations, no one actually says «zombie» in the film.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

In these films, the world has usually turned against humanity in some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioIn these films, the world has usually turned against humanity in some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioin some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioin, driving these characters into action.

As the film's star once again tramples across a vast expanse of land — albeit in rather different circumstances to The Hobbit trilogy — first - time feature director duo Ben Howling and Yolanda Ramke turn a zombie pandemic into a musing on parental love, environmental destruction and the nation's cultural disharmonies.

In other hands, a zombie movie is just a zombie movie, but Land of the Dead, a horror film laced with rife with social commentary, political satire, and black humor, is not just a return to the genre he practically single - handedly created (or at least definitively redefined), but a return to form.

A protégé of Dario Argento who matured to develop a unique style of his own while at once carrying the tradition of such Italian horror icons as Mario Bava and Riccardo Freda, Michele Soavi almost single - handedly kept the slumping Italian horror / fantasy tradition afloat in the 1990s with his strikingly original philosophical zombie film Dellamorte, Dellamore (1994).

Tarantino's film, «Death Proof,» is a rip - roaring slasher flick where the killer pursues his victims with a car rather than a knife, while Rodriguez's film «Planet Terror» shows us a view of the world in the midst of a zombie outbreak Read the rest of this entry»

In his eloquent fulmination on «the De Palma Conundrum,» The New Yorker's Richard Brody says, «De Palma's peculiar fealty to the history of cinema — his overt dependence upon the films of Alfred Hitchcock and his plethora of references to other classic filmmakers... results in zombie - like movies.&raquIn his eloquent fulmination on «the De Palma Conundrum,» The New Yorker's Richard Brody says, «De Palma's peculiar fealty to the history of cinema — his overt dependence upon the films of Alfred Hitchcock and his plethora of references to other classic filmmakers... results in zombie - like movies.&raquin zombie - like movies.»

There's been a lot of zombie films in recent years, so it's with some trepidation that I sit down to watch another one.

Romero of course gave us the Dead series of films starting in 1968 where he envisioned zombies not in the traditional Haitian, plantation sense, but as the end of the world, and as a (possibly accidental) metaphor for racism and the 1960s.