Sentences with phrase «as genre tropes»

The contrast tends to work very well, as genre tropes get injected with vitality by a new colour palette.

Not exact matches

As Stark now looks to take on the Mandarin (Ben Kingsley), a celeb - terrorist who has bio-engineered a group of Americans into unknowing time bombs, Black begins to take apart the accepted boundaries and structures of the superhero film, and if he still employs a variety of familiar genre tropes, he certainly dismantles as many as he indulgeAs Stark now looks to take on the Mandarin (Ben Kingsley), a celeb - terrorist who has bio-engineered a group of Americans into unknowing time bombs, Black begins to take apart the accepted boundaries and structures of the superhero film, and if he still employs a variety of familiar genre tropes, he certainly dismantles as many as he indulgeas many as he indulgeas he indulges.

Though rife with clichés that will surprise very few, The Guest benefits from the Wingard / Barrett embracing of genre tropes, giving us a villain that can also be seen as a dark savior / twisted guardian angel, reminiscent of a few Hitchcock villains, a la The Lodger, Shadow of a Doubt, and Strangers on a Train.

Revenge: Coralie Fargeat's feminist reworking of the rape - revenge genre changes the game in the best possible way — by engaging with the tropes, turning them up to eleven and framing the whole thing as an almost mythical narrative.

Treading the same path as the likes of Skyrim and Bethesda's genre - defining Fallout series, Guerrilla's new venture is embracing the lone adventurer trope.

Dekker uses the kitchen sink approach with Jack Goes Home, throwing as many tropes and other genre devices into the mix and sees what works.

The Assassination of Jesse James by the Coward Robert Ford is a work of great majesty; The Proposition is as searing as anything that came before it; while Tarantino fused his love of the genre and contempt for the slave trade in Django Unchained, which managed to be both incendiary and huge amounts of fun; The Homesman and Meek's Cutoff gave the western a stirring feminist spin; and last week's Jauja (a similarly Danish - American mash - up, this time South American) played with genre tropes to produce something surreal and unforgettable.

The film is the latest true - story based projected directed by Bennett Miller; part psychological drama / thriller, part sports drama, Foxcatcher reads as being a hybrid of genre tropes presents in Miller's previous biographical features, Capote and Moneyball.

But the filmmakers adhere too prominently to the tropes of the sports genre, all leading up to the big, dramatic encounter at the end, whereas tonally it felt the film may have benefited from avoiding such an approach — for while a necessity Billie Jean King took place in the match, the entire endeavour was more about putting Bobby Riggs in his place rather than to prove herself as an athlete.

The duo's nimble screenplay offers a spot - on deconstruction of horror tropes as well as a joyous celebration of the genre.

Billed as the first Iranian vampire Western, writer - director Armipour's film certainly borrows heavily from the tropes of that genre, featuring as it does a lone stranger dolling out bloody vigilante justice to those deemed deserving.

Goddard and Whedon's nimble screenplay offers a spot - on deconstruction of horror tropes as well as a joyous celebration of the genre.

Though the «sex equals death» rule isn't as prominent in modern horror movies that defy those decades - old tropes, «It Follows» is very much a retro homage to «70s and «80s genre classics, from the «Halloween» - esque synth score, to the striking similarities to «Nightmare on Elm Street,» both in Jay's perpetual helplessness and the film's dreamlike atmosphere.

It's no fun to rip a genre flick by Canadian maverick Bruce McDonald, who makes movies with real zeal and, as recently as 2008, riffed smartly on horror movie tropes in his quasi-zombie drama Pontypool.

As a general rule, I'm not a fan of the biopic movie genre, which is riddled with cliches and tropes.

Why it's scary: Recognising the manipulations that lead to familiar horror tropes supplies a fair few frights, but the real terror begins when those big lift doors open... Although consistently funny as hell, Cabin in the Woods steers right into the full potential of its genre - wide horror knowledge when things really kick off, delivering brilliant pastiche at the same time as totally legitimate recreation.

The Dark Souls series most famously took these tropes, even from its beginnings with the Kings Field series, to build a genre all its own of hard - as - nails action RPGs that punish the player for failing to exercise caution.

It's never clear, when he immediately cuts into a scene, whether Martha is in the past or present, and it leaves the viewer deliriously uneasy as the film develops, to the extent where I found myself watching the final 30 minutes playing out seemingly without drawing a single breath; it's a tense, horrifying picture without ever needing to descend into genre tropes.

Tropes of the genre, such as towers to climb to expose the map, exist in the game only as much as they stay interesting.

A nasty piece of work in which the spirit of the bushman traveller escalates his penchant for opportunistic crime from sheep stealing to stalking and stabbing, Scott's twisty deconstruction of slasher pic tropes is as good a calling - card pic as we've seen from a young Aussie genre filmmaker since Damien Power's similarly sinister Killing Ground in 2016.

Jordan Peele, making his directorial debut, has a deep understanding (and appreciation) for the horror genre, as he expertly wields its tropes only to subvert them at every turn.

Sure, the basic plot is that of a western, and it plays homage to any number of the genre's tropes and clichés, but really, this flick is far too bizarre to be simply categorized as one.

But McPherson isn't really interested in making a horror film; he's merely using the genre's tropes as part of an adult romance about accepting tragedy and moving on.

This is a full - throttled tale of revenge and love with a series of references to other movies of the same genre, from common tropes like the superhero landings or heroic moments to iconic remarks regarding the relationship between Batman and Robin, as well as the Daredevil mantle.

But underneath the technical expertise that Wan and protégé directors like David F. Sandberg have brought to many of these projects are premises as moldy and interchangeable as the rambling American Colonial and Craftsman - style homes where most of these movies are set — dusty collections of creepy dolls, jump scares, dark cellars, and other public - domain genre tropes.

A quick summation: yes, there is a difference between genre fiction and literary fiction; no, genre fiction is not necessarily «lower» than literary fiction or mere escapism; yes, literary fiction has just as many cliches and tropes as genre fiction; and yes, there are many examples of top quality work and utter crap in both categories, and people shouldn't pigeon - hole their reading habits to solely one or the other.

As a master of literary fiction in the American Gothic tradition, Jackson always subverted the trappings of genre, using the classic tropes of the haunted house and the mysterious villagers to illustrate deep cultural and personal anxieties.

Determined as she may be, however, her efforts to stand firm are marred by a story that pits her against genre - trope odds to disappointing result.

That issue isn't unusual, as a quick look in any genre would reveal that popular tropes often lead to similar titles.

As with all genres, the 13D attack letter has its tropes: macho swagger about work ethic, war metaphors, regional stereotyping.

Um Horizon is an awesome game but it's an open world game... and like any game of a genre you can identify it as such because of those tropes found in the genre.

Moto Racer plays exactly as you would expect it to with accelerate, brake and the standard tropes of the racing genre all present.

Bungie, the developer of the game, and the team responsible for the epic Halo series of shooters, has clearly done a lot of research to build its fiction - the Destiny world is a rich amalgam of myths and fantasy tropes; the alien races that you fight — the Fallen, the Hive, the Vex — all have military hierarchies and back stories inspired by Tolkien, Asimov and a dozen other genre writers, as well as Roman and Medieval history.

The Dark Souls series most famously took these tropes, even from its beginnings with the Kings Field series, to build a genre all its own of hard - as - nails action RPGs that punish the player for failing to exercise caution.

We talk about the concept of Exotic East tropes, as well as harmful stereotypes in a few game genres and racism in first person shooters.

Like the film it's based on, Isolation also subverts an awful trope you come to expect from the genre and creates a believable (and tough) female protagonist who is clearly just as capable as her mother.

It felt like an experience removed from the usual trappings, tropes and conventions found in other genres and instead felt like another life — one where even something as innocent as a treasure chest could chew your face off.

It laid down many tropes of the genre that we take for granted today: elemental - themed dungeons, a third - person battle perspective and the overworld - traversing vehicles such as airships.

As you'd guess, it's a hill climbing game with zombies in it, combining every trope we've seen in both the runner and climbing genres.

The Last of Us utilises all the horror tropes mentioned above, including fast zombies (otherwise known as infected) and the variations which were introduced during the earlier days of the zombie genre.

As a hardware maker and game developer, it's always gone its own way, but in recent years it's started to tinker with existing genres and tropes, to great success.

Wizards, dragons and political intrigue are all old hat for the fantasy genre, but few series make old tropes feel as fresh as «Dragon Age: Inquisition.»

As the first Zelda game in three dimensions, Ocarina turns series and genre tropes on their heads through the use of first - person perspective, vertical traversal, and Z - targeting.

Sikander's pioneering practice takes classical Indo - Persian miniature painting as its point of departure and challenges the strict formal tropes of the genre by experimenting with scale and various forms of new media.

We will also consider Pettibon's self - reflexive presentation as artist and writer, his play on the art historical trope of the self - portrait and the literary genre of the autobiography, and his destabilization of authorial voice.

Using the genre as a conceptual framework, the works on view translate literary tropes and vernacular objects, such as religious furniture or cosmetic tools, into artworks that further Slavs and Tatars» investigation of speech and sovereignty.

Distinctions between theatrical tropes and task - oriented performance art, in fact, often pivot on these points, particularly when instructional score - like texts and photo documentation becomes a genre unto itself, as reflected in the somewhat recent art history of Allan Kaprow's intimate Life Art «happenings» which aestheticized normal human activity while blurring the boundaries between art and life.

In Siegel's hands, Black Moon, which Malle described as a ``... strange voyage to the limits of the medium,» becomes a present - day science fiction without dialogue, traversing multiple film tropes — action, guns, lonely campfires, the end of the world — and, like its band of armed female revolutionaries, resists taking up residence in a fixed narrative or genre.