Sentences with phrase «as suspense films»

Not exact matches

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

There's no real suspense, of course, as we know the outcome, but the swift and observant storytelling sustains interest all the way in a film that doesn't overstay its welcome despite its vast cast of characters and the considerable ground it covers.

There follows a long working out of the film's title, as Jen transforms herself from victim to warrior and Ms. Fargeat turns her skills to suspense and gore.

Dial M remains more of a filmed play than a motion picture, unfortunately revealed as a conversation piece about murder which talks up much more suspense than it actually delivers.

With the artful and clever concept of little to no dialogue, the film keeps the audience engaged and too scared to make a sound themselves (you don't even wan to munch on your popcorn) Yes, as with many thrillers, there are a few plot holes, but the plot is unique, the acting is good and suspense is palpable.

The film's plot creates unceasing amounts of sheer terror and breathtaking suspense as the ship and its crew face realistic and unknown dangers when it is continually threatened by the scientist's natural defenses while dealing with the antibodies and other factors.

Unlike with so many superficially similar films, as an audience we understand and empathize with the decision - making process, the script never sacrificing its smarts for suspense.

THR's David Rooney calls the film «sluggish and lacking in bite,» lamenting that «it has neither thrills nor suspense,» while The Playlist's Kevin Jagernauth (in a «C -» review) deems it a «disappointingly bloodless» work that «often feels as gray and lifeless as the corpses in the film.»

Although the film is quite slow at times, Hitchcock manages to keep a sustained level of suspense throughout the film, with the character Rupert Cadell being increasingly suspicious of the boy's activities as the film progresses.

And don't think ZACHARIAH is wanting in the suspense department; in fact, the entire film (especially in its third act) hums with an imperceptible tension, as these characters slowly figure out if they can trust one another (and, really, spend the rest of their lives together).

However, there is very little payoff to that suspense, and that's where this film fails as a quality picture.

As kidnap films go, All the Money in the World has some suspense to it, most of the audience won't know or remember the outcome.

More than anything else, the film keeps its preeminent place because this is the movie in which Hitchcock became «Hitchcock,» earning the reputation he never relinquished as «The Master of Suspense.»

However, as solid as it is in most areas, I can only give the film a modest recommendation because, as a whole, it is curiously uninteresting, and what should have built up to edge - of - your - seat suspense, lays dormant for the duration.

The intimate setting provides some chills, but as it transitions into supernatural nonsense as a vehicle for the requisite comeuppance, the film fails to provide consistent suspense.

However, he seems quite befuddled as to what to do within the atmospheric horror genre, never really building solid suspense, and offering nothing more than to throw more unpleasant images at us whenever the film starts losing momentum, which is quite often.

We've seen variations on this before but acclaimed film - maker Cate Shortland, who gained plaudits for less genre - influenced dramas such as Somersault and Lore, manages to combine artful direction with seat - edge suspense, elevating the material to something quite special.

The problem with this approach is that not one of the film's observations is new, and its technique — in which artificial suspense is created by cross-cutting multiple story arcs in an attempt to disguise that each one is predictable as a metronome — undermines the quality of its performances.

Michael Sheen and Frank Langella are swell as David Frost and Richard Nixon in the adapted - from - the - stage - adaptation movie, but I feel — and I believe the above clips demonstrate — that these five minutes provide more compelling drama and suspense (and adrenaline) than the entire feature film.

As with his later Pickpocket (1959)-- also a great film — Bresson is more interested in the everyday details of the escape, and not the suspense.

Larraín has an interesting way of crafting his version of her story almost as if it's a suspense film with his central character always on the precipice of completely losing it.

From there, the film alternates between exposition and gradually building suspense as Balagueró ratchets up from one to two to a whole mess of zombies prowling the ship's tight, winding corridors.

Yet, the film plays out with little sense of requisite suspense that made the first Psycho such a great film, and many of the scenes, including the murders, play out as if they were made for a psychological drama, rather than in a scary horror flick or tense, nail - biting thriller.

9 «The Lives of Others» With its slow - burn paranoia and pitch - perfect performances, Florian Henckel von Donnersmarck «s Oscar - winning «The Lives of Others» (it beat out «Pan's Labyrinth» among others) works as a political suspense film for the majority of its running time.

One of the more consistently underlined truisms in Hitchcock / Truffaut, a work of cinephilic devotion that takes the titular 1966 book as its starting point, is the notion of the master of suspense as a director with full control over every effect in his films.

Unfortunately, given that the thriller plot kicks in for the latter half of the film, which employs such things as cracked security systems, hacked computers, tampered drinks, hidden cameras, women in cages, car chases, and criminal frame jobs, the upper hand is completely lost to cheesy mainstream suspense gimmickry that is both wearisome and distasteful considering the thematic material presented.

What it truly lacks is acuteness, because as a end - up of the Hitchcock style, the moments where Brooks actually spoofs the Master of Suspense are too few and far between, and the rest of the film is mostly uninspired filler.

Besides Psycho, other films that Hitchcock directed that made him known as the «Master of Suspense» include: Lifeboat, Rear Window and Vertigo.

This is also newly remastered and includes the supplements from the earlier DVD special edition: two commentary tracks (on by film historian Richard Schickel, one by film historian / screenwriter Lem Dobbs and film historian Nick Redman), the featurette «Shadows of Suspense,» an introduction by Turner Classic Movies host Robert Osborne, and the 1973 TV - movie remake starring Richard Crenna in the MacMurray role, Samantha Eggar as the seductive Phyllis, and Lee J. Cobb as the insurance boss Keys.

He doesn't seem terribly gifted or graceful in the helm, as the film shows flashes of sharp suspense thriller but is more often reduced to mindless, artless B - movie dreck.

can deliver to the same extent that Black Swan did, as so far what we've seen of this latest film looks very dark and compelling - not to mention being full of eerie suspense.

As Barbara, a physician exiled to an East German provincial town as punishment for having applied for an exit visa from the GDR (the film is set in 1980, almost a decade before the fall of the Berlin Wall), Hoss exudes such fierce wariness and disdain for her colleagues, whom she realistically suspects may be spying on her for the Stasi, that the film's suspense lies less in whether she'll be able to smuggle herself out of this country she detests than whether she will exhibit any humanity, any crack in her icy demeanoAs Barbara, a physician exiled to an East German provincial town as punishment for having applied for an exit visa from the GDR (the film is set in 1980, almost a decade before the fall of the Berlin Wall), Hoss exudes such fierce wariness and disdain for her colleagues, whom she realistically suspects may be spying on her for the Stasi, that the film's suspense lies less in whether she'll be able to smuggle herself out of this country she detests than whether she will exhibit any humanity, any crack in her icy demeanoas punishment for having applied for an exit visa from the GDR (the film is set in 1980, almost a decade before the fall of the Berlin Wall), Hoss exudes such fierce wariness and disdain for her colleagues, whom she realistically suspects may be spying on her for the Stasi, that the film's suspense lies less in whether she'll be able to smuggle herself out of this country she detests than whether she will exhibit any humanity, any crack in her icy demeanor.

Touted with suspense and riveting performances from its cast, Sofia Coppola's «The Beguiled» stands alone as the single best film of 2017 so far,...

Interestingly, this gives the film some suspense, as we are waiting for the action to take place.

Equally remarkable is how effective the minimal use of music (some classical stuff at the beginning as the family is driving and one particularly jarring John Zorn song used a couple of times in the film) is in helping to create the tension and suspense of Funny Games.

And the adventurous English critic Raymond Durgnat devotes most of the final chapter of his first book, the 1967 Films and Feelings, to the film, finding its story a reflection of American attitudes during the cold war and appreciating, with some critical reservations, its «moral suspense» as well as its poetic imagery.

In typical Sayles fashion, the plot begins as an examination of small - town Alaska life, territory rarely mined in feature films, but soon transforms into something completely different, a suspense tale of man's survival among the elements.

Filmmaker Viet Nguyen impressively sustains suspense and paranoia, qualities he first demonstrated with the 2010 short of the same title and its 2013 sequel that loosely serve as the basis for this film.

However, despite many easy attempts for the masked men to kill them, they hold themselves back, as a way of turning the planned murders into a game, into a suspense film within a suspense film.

We've seen many horror and suspense films with cults as the backdrop, either on - site at a commune or pulling strings in some shadowy or supernatural way, but there's never been one quite like The Endless from directing duo Justin Benson and Aaron Moorhead.

The lack of action and suspense within the proceedings becomes increasingly problematic as the film progresses, as the viewer is never entirely given a reason to care about Tom's plight - as screenwriter Matthew Aldrich disguises such deficiencies by piling on one complication after another.

reached this ending and Alma and Reynolds reached a perverse understanding, I felt as if I had watched one of Hitchcock's later, more psychologically explicit films — albeit one layered with an aching vulnerability that the Master of Suspense wouldn't have dared.

We've seen many horror and suspense films with cults as the...... Read more «Blake Crane reviews «The Endless» for Film Racket»

The film may move at a snail's pace, but it's never boring, creating suspense out of something as innocuous as retrieving sealed court documents.

Strikingly filmed in black and white — cinematographer Robert Crasker won the Oscar for his work — The Third Man contains a great deal of suspense, several moments of dry British humor, and a fun performance from Cotten as the wide - eyed innocent.

Yet, in this film with no dialogue, there's also an air of mystery and suspense, as clues are left to exactly why this place is left at the behest of the amphibian interlopers.

There is a certain level of suspense in Event Horizon as the story is being set up, but the follow through is nothing like the tension that Ridley Scott and James Cameron created in the first two films in the Alien series.

There is a psychological element in this film that works more as a gimmick than it does as an extra layer of drama or suspense, the savvy viewer should be able to spot this obvious secret pretty early on.

The latter scenes create a sense of threat and suspense which was powerful and carefully sustained throughout the film as the main character, Luciana, gets sucked into a mysterious but ominous game.