Sentences with phrase «as a horror film turns»

Not exact matches

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

The lack of originality is what makes this film not worth seeing, and the film's script is poorly written as if the filmmakers didn't care about turning out a good horror film.

It turns out that the film's conclusion, which left the door for further horror wide open, was a promise as Don't Breathe 2 is currently in the works.

It's not quite as awful as Lynch's last effort, the horror - comedy «Knights of Badassdom,» but while the idea of watching a scantily - clad Hayek fight her way through yakuza henchman and prostitutes - turned - assassins may sound like a ton of fun, «Everly» is never able to match its B - movie aspirations, instead forced to flounder in the gutter like the filthy, exploitative grindhouse film that it is.

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).

I'm going to venture that Bug is going to have a small, loyal audience, as it is a strange film, with a sense of gruesome atmosphere that will most likely turn off mainstream viewers, particularly those who fall for the studio's marketing of it as a straight horror flick.

I have to say that this project is definitely ambitious as it takes one of the horror genres most important films and turning it into a musical.

A painter and cinematographer turned director, a craftsman turned celluloid dreamer, an industry veteran who created, almost single - handedly, the uniquely Italian genre of baroque horror known as «giallo,» he directed the most graceful and deliriously mad horror films of the 1960s and early 1970s.

Opening in September: Kirsten Dunst and Isla Fisher take a turn in the comic bridesmaid well in «Bachelorette» (Friday); Bradley Cooper is an author whose stolen work becomes a hit in «The Words» (Friday), a thriller co-starring Jeremy Irons and Dennis Quaid (see story on Page 17); Pixar adds another dimension to one of its most popular films in «Finding Nemo 3 - D» (Sept. 14); Milla Jovovich returns for one more zombie slaughter in «Resident Evil: Retribution» (Sept. 14); Jake Gyllenhaal and Michael Peña are Los Angeles cops in «End of Watch» (Sept. 21), which aims for a realistic look at inner - city law enforcement; Elizabeth Shue and Jennifer Lawrence are mother and daughter, discovering a horror - tinged secret in «House at the End of the Street» (Sept. 21); Karl Urban plays «Dredd» (Sept. 21), a helmeted avenger who cleans up the futuristic Mega City as its judge, jury and (wait for it...) executioner; In the animated «Hotel Transylvania,» Dracula (voiced by Adam Sandler) struggles to cope with his daughter's new non-vampire love interest (Sept. 28).

As it turns out, Fox has neither the acting chops nor the movie star charisma to elevate the disorganized tornado of horror movie clichés and leaden one - liners whirling around her, and with no real base to support the film, Jennifer's Body quickly careens into an incoherent exercise in high production values glossing over an utter lack of imagination.

As «Get Out» is a horror film, those micro-aggressions soon turn to, well, aggressions.

Amirpour's attempt to create a psychedelic modern - day spaghetti western backslides, as it ironically embodies its title: this film turns out to be the utmost «Bad Batch» of horror thrillers that try to critique today's society.

The treachery is usually couched in terms of ideology or selfless public service, but of course it's all a power grab of some kind, and the longer the movie goes on, the more coldly hilarious Iannucci's stylish deadpan becomes, until, by the end, things take a turn for the gruesomely surreal, and we feel as if we're watching the cheekiest horror film never made.

It just puts monsters on display like zoo animals, then mostly looks away when it's time to turn them loose in either a sad (and failed) attempt to win a PG - 13 rating or more likely an attempt to pander to every audience except the horror audience that would see right through it, and instantly, as another slam on genre films by a larded gentry too delicate to see them first.

For those that may not be familiar with Sam Raimi and his eclectic style, this may be a turn off for people solely looking for horror and gore, as having slap - stick in a horror film definitely appeals to a certain niche.

It stands just behind 28 Days Later as the second best horror film in a year that has turned out pretty darned well for the genre.

Elizabeth Olsen's turn as a recovering cult member plays like a psychological horror film — the latest genre, from sci - fi to action, that arthouse flicks have raided

It was considerate that director Bradley Parker (a visual technician in films such as «Lake Placid» and «Fight Club «-RRB- followed a similar path as «Cabin in the Woods» director Drew Goddard did in turning the old teenage slasher / horror / mutant genre on its head with Chernobyl Diaries.

Trey Edward Shults» sophomore feature It Comes at Night is a psychological horror film that traps the audience along with two families in an abandoned house in the woods that, over the course of a slow - burning 90 minutes, turns into a cauldron of fear, mistrust and paranoia as they try to survive an unnatural threat that is terrorizing the world.

While talking to Yahoo Movies about the film, Guadagnino said: «I hope that this movie, made by a man, turns out to be experienced through the horrors as a sort of fierce showcase of the female artistic experience.

Tellingly, his two biggest regrets, as he told GQ in 2012, are turning down two films that presented a similarly more complex idea of «winning» and «losing» than the more generic fare he often accepts: the Brad Pitt role in David Fincher's horror - thriller Se7en and the George Clooney role in corporate psychodrama Michael Clayton.

Rising star Monroe first broke through in the 2014 horror film «It Follows,» followed by subsequent turns in «The Guest» and «Independence Day: Resurgence,» while O'Leary is best known for his role in Rian Johnson's debut «Brick,» as well as «Live Free or Die Hard» and «The Lone Ranger.»

His roles in more than 200 films include star turns as Dracula, the Mummy and Frankenstein's monster in Hammer horror classics, Count Dooku in Star Wars, and Saruman in The Lord of the Rings trilogy and The Hobbit films.

Get Out turns out to be more fun, and more provocative, than it is scary, at least in the traditional midnight - movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.

As directed by Mike Flanagan (one of today's most exciting horror talents), the action is now turned inside out, with Jessie's imagination and flashbacks to her harrowing childhood taking over, as she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minuteAs directed by Mike Flanagan (one of today's most exciting horror talents), the action is now turned inside out, with Jessie's imagination and flashbacks to her harrowing childhood taking over, as she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minuteas she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minutes.

Nature turns mean, but not as mean as she could be in an R - rated movie, in this uneven wanna - be horror film.

Another film, 1953's The Maze, has as its central horror a royal Scottish family genetically predisposed to turn into giant toads.