Sentences with phrase «body horror on»

There's some fine body horror on display here, but it also makes the audience feel the significance of a loss.

Not exact matches

In some cases this means continuing the author's lead in A Sort of Life, which, for instance, presents the horrors of boarding school (on the other side of the «green baize door» from his family quarters) as a season in hell, replete with demonic adversaries among the student body.

«But though by the end of the battle the men felt all the horror of their actions,» he writes, «though they would have been glad to stop, some incomprehensible, mysterious power still went on governing them, and the artillery men, covered with powder and blood, reduced to one in three, though stumbling and gasping from fatigue, kept bringing charges, loaded, aimed, applied the slow match; and the cannonballs, with the same speed and cruelty, flew from both sides and crushed human bodies flat, and the terrible thing continued to be accomplished, which was accomplished not by the will of men, but by the will of Him who governs people and worlds.»

@GOPer My hope, though I will never see it, that all crazy religious practices such as the taliban beheading youngstesr because they chose to party, the muslim brotherhood attacking koptik christians, the vicar of christ condemning condoms and the resulting spread of aids, the right o a woman to control her own body, etc. the horror done in the name of religion still goes on.

While Bolles was serving at LRMC, he saw the horrors of war played out on American bodies each day.

When I found myself sitting on the couch reading Elle magazine drinking coffee at 11 a.m. during the middle of the week with old episodes of American Horror Story playing in the background of an otherwise silent house, I felt my whole body relax.

On her stroll to her horror she finds the dead body of her son's lover.

When Jonah returns to unleash a new kind of horror on the innocent family, Sara enlists the aid of enigmatic priest Popescu (Elias Koteas) in driving the evil out before it consumes her son's body and soul.

Her feature - length debut, 2013's «It Felt Like Love,» focused on the bumpy trajectory of an introverted teenage woman exploring her urges with dangerous results; with the markedly similar «Beach Rats,» Hittman brings the same tropes to the plight of a young man in a film that has the precision of a great short story and the uneasiness of body horror.

The murderous spirit of Jason Vorhees lives on in this horror sequel, although the plot hinges on the mystery of whether the killer's body actually survives.

Drawing on mythology and body horror, Annihilation is an intelligent film that asks big questions and refuses to provide easy answers.

Taking Lives is a socio - political horror film trapped in the body of a game show hostess; smart in spite of itself, it's a statement on a bedazzled culture forever reaching for enlightenment with one hand and distractedly fondling the contents of its corpulent crawlspaces with another.

With its combination of psychological and body horror, The Brood laid the groundwork for many of the director's films to come, but it stands on its own as a personal, singularly scary vision.

Kevin Smith doesn't ever really commit to whether he thinks everything is a joke or not and gets mixed up with some French Canadian humor that falls flat on its face but it's the sharp juxtaposition between the botched attempts at humor and the barbaric visual horror onscreen that makes Smith's body transmogrification so fucking fucked up.

Starring Mark Hamill (Star Wars, Sushi Girl), Stacy Keach (Escape From L.A.), and Robert Carradine (Airplane), Body Bags also features cameo appearances by directors Wes Craven (A Nightmare on Elm Street, Scream), Sam Raimi (The Evil Dead, Oz The Great and Powerful), Roger Corman (Little Shop of Horrors), and both Hooper and Carpenter.

Sure, diehard supporters are going to love the incredible attention to detail, not to mention the fantastic visuals (including a scene where a woman gets the skin ripped off her body by some evil dude with a biggie - sized butcher's knife), but as a horror flick, «Silent Hill» bombs on multiple levels.

There's some business about alternate dimensions (or, more precisely, alternate universes), some Alien - style body horror, bits of metal and flesh that take on lives of their own, even the occasional hint of time travel.

Featuring Howard Shore's hair - raising debut film score, this deeply personal take on the trials of parenthood and the trauma of divorce — which Cronenberg described as his version of Kramer vs. Kramer — establishes the mix of body horror and psychological terror that would soon become the director's trademark.

A modern day twist on Invasion of the Body Snatchers, this is a subversive horror film that's a must - watch for anyone that's lived through the terror of high school.

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).

Much like The Exorcist, The Babadook, or The Wailing, Hereditary is less a roller coaster ride of horrors to get your blood pumping and is rather a complete assault on your mind, body, and soul that will leave you feeling battered and broken.

Here's two more movie posters for the upcoming horror film «Red State» written and directed by Kevin Smith (Clerks) and starring John Goodman (Thicker, Pope Joan), Kyle Gallner (A Nightmare on Elm Street, Jennifer's Body), Michael Angarano (Noah's Ark: The New Beginning, The Forbidden Kingdom), Stephen Root (Kung Fu Panda: Legends of Awesomeness, True Blood), Kevin Pollak (Cop Out, Middle Men), Melissa Leo (Welcome to the Rileys), Ralph Garman (Family Guy) and Anna Gunn (Breaking Bad).

But the writer's sophomore effort, intended to capitalise on the immense popularity of Juno, was Jennifer's Body (2009), a horror comedy that many felt suffered in comparison to its predecessor.

It nods in the direction of a number of other films — The Invasion Of The Body Snatchers, Arrival, Alien even — but never leans on them too heavily, creating a story and an environment of its own where exquisite, near - hypnotic beauty exists side by side with gruesome horror.

I was young, and watching my dad get to the scene where the body is gored out on the fence made me run in horror.

1 - You're Next (for more originality than the others & acceptable story) 2 - Maniac (for incredible Atmosphere and for really being schizophrenic horror) 3 - Conjuring (for Mastery Atmosphere & Shocking Moments) 4 - Evil Dead (GOOD GORE) 5 - We Are What We Are (Special Theme, Excellent Directing) 6 - V / H / S 2 (Surprising, Intense & Bloody moments) 7 - Insidious 2 (Just OK for being high class horror) I like this either: Sleep Tight / Hatchet III / No One Lives / Mama / Carrie / I spit on your grave 2 (i don't know what call warm bodies «horror or romance» but i like it anyway)

Equal parts baroque fairy - tale, atmospheric mystery, and hideous body - horror nightmare, the film puts what could have been a cost - effective genre exercise on steroids, giving life to a...

Aside from a seemingly tacked on dream sequence / hallucination that tries to satisfy those looking for his father's trademark body horror, it works and shows great promise.

From the bleak settings and synth - heavy soundtrack to the hyper - stylized violence and hints of body horror, this film would feel right at home next to Carpenter's early output like «Assault on Precinct 13» and «Halloween.»

After failing to stop the Mad Titan's assault on Wakanda, Rocket watches in horror as Groot's body begins to blow away on the wind and the flora colossus utters his signature phrase one final time before he dies.

The intimate and devastating drama contrasts the terrifying horror of the blast and its immediate aftermath (the blackened bodies running through the streets, unrecognizable and moments from death, operating on whatever survival instinct is left, is an image not soon forgotten) with the calm, pastoral countryside where, 10 years later, victims of the blast still deal with the legacy.

Surprisingly, of all of the King adaptations, that 1986 film — which featured young characters on a journey to find a dead body — feels the most similar to this one despite the fact that this movie belongs in the horror genre.

The show has always been at its best when focusing on the intrinsic freakiness of that alien body horror — and at its worst when doing anything else, be it the family woes of alcoholic, divorced scientist Eph (Corey Stoll) and his romantically - entangled colleague, Nora (Mia Maestro), the noble - thief origins of good - hearted (and bad - assed) gangster Gus (Miguel Gomez), or the detours to the sinister Stoneheart Group boss Eldritch Palmer (Jonathan Hyde), who craves immortality.

Blood flows freely on Blood Bitch, a carefully composed collage album with a pronounced focus on body horror.

Instead, the off button is flicked on the whole body horror aspect with such flagrant disregard for anything that had come before it that there is no hope of tonal consistency, no dream for quality as the movie runs itself into the ground.

Heavily influenced by horror films like «The Stepford Wives» and «Invasion of the Body Snatchers,» «Get Out» keeps you on the edge of your seat throughout its intense 104 - minute runtime, utilizing extreme close - ups and Michael Abels» eerie musical score to build tension and create an unsettling atmosphere of paranoia that effectively puts you in the protagonist's shoes.

The creeping paranoia and the excellent setups that make you suspect various players, until the true story starts to unfold, creates an unsettling feeling of dread absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, diminishing the emphasis on narrative and suspense.

The creeping paranoia and the excellent setups that make you suspect various players until the true story starts to unfold creates an unsettling feeling of dread, absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, weakening the emphasis on narrative and suspense.

But what makes it a classic is that, like «Get Out,» a body - snatching movie about racism, or «The Babadook,» a supernatural horror film about childhood fears, it also works so well on so many other levels.

It doesn't help that, when fairy - sized, the visual effects department plopped their real heads on CGI bodies, culminating in some awful body horror - type uncanny valley effect.

With a tight runtime, it's not that much of a chore to sit through, but The Lazarus Effect is one of those horror films where lack of character logic makes it hard to root for the bodies that are inevitably going to pile on the floor.

The film is a blend of different tones, some scenes touching on comedy to others of near - Cronenbergian body horror.

Blue My Mind also centers on a high - school girl trying desperately to fit in, although its narrative goes in a more predictable direction — as predictable as a body - horror movie about a girl who's slowly turning into a mermaid can be, anyway.

A spin on The Little Mermaid — the f*cked up fairy tale, not the Disney movie — The Lure echoes Jonathan Glazer's similarly great Under The Skin as mermaid sisters Silver and Gold wrestle with body dysmorphia, body horror, and their appetites, whether it's for food, romance, or sex.

Despite being described as a horror film, it feels more like a thriller, aside from a seemingly tacked on dream sequence / hallucination that tries to satisfy those looking for his father's trademark body horror.

It is an impressive feat, as Spring often seems on the brink of flinging itself into orbit at any minute, but the soulful and engaging turns from leads Lou Taylor Pucci and Nadia Hilker, and beautiful Italian vistas (fully taken advantage of through some gorgeous top down helicopter establishing shots) and some real confidence from Benson and Moorhead to stick to their guns makes Spring a unique and satisfying twist on both classic romance and old school body horror.

Within even my rudimentary plot description there's a touch of Cronenberg-esque body horror, the promise of demonic possession leading to messy body devouring, the ironical twist of the hot girl taking advantage of horny high school boys, and the always reliable «only the best friend realizes what's going on and is in a position to save the day» path to the final showdown.

I suppose Juno backlash aside the genre of horror comedy is a prickly one for most moviegoers; Jennifer's Body can and should succeed quite nicely on the home - viewing circuit.

Based on the best - selling book by Isaac Marion, WARM BODIES is being brought to the big - screen by 50/50's Jonathan Levine, with the romantic horror revolving around zombie «R» (Nicolas Hoult), who falls for human survivor Julie (Teresa Palmer), after rescuing her from a zombie attack.

But such a description hardly accounts for the Stephen Chow - worthy moments of CGI slapstick, the body horror played for insane laughs, or the way this very strange movie frequently flirts with going indie - movie maudlin on our asses, before another loud blare of escaping gas snaps us back to crazy town.