Sentences with phrase «by killer films»

Not exact matches

The killer has no motivations for his actions other than the cliched «He's just crazy,» and the establishment's actions, personified by the mayor and police chief's conservative dealings with the killer, wreak of a contrived set - up to make Harry appear «heroic» - what the film considers «heroic» - by contrast.

House of Sand and Fog is a ponderous, slow moving film which, if you allow yourself to take the time and let yourself fall into the excellent characterizations by Connelly and Kingsley, becomes a ponderous film with a killer ending that, even if you see it coming a mile away, is still a killer ending worth sitting for.

Since «Law Abiding Citizen» turns out to be «Clyde: Portrait of a Serial Killer (or «Clean Shaven Death Wish), in which the daddy - turned - vigilante (played by Gerald Butler) starts killing, not NYC lowlifes like a Scottish Charles Bronson, but innocent people, ala Henry (Michael Rooker) in the 1989 John McNaughton film, brutality needs to match brutality, because the cause and effect of the carnage needs to be better proportioned.

Veteran director Walter Hill helms this graphic novel adaptation about New Orleans (or, going by the film, Crescent City - NOLA's nickname) hitman James «Jimmy Bobo» Bonomo (Sylvester Stallone) who teams up with greenhorn D.C. cop Taylor Kwon (Sung Kang) to bring down the killers of their respective partners.

It's clear that Killer's Kiss requires a great deal of patience from the viewer, as much of the movie's first half suffers from the feel of a rather unimpressive student film - with director Stanley Kubrick exacerbating this feeling by suffusing the proceedings with needlessly ostentatious visual choices.

This film image released by LD Entertainment shows Matthew McConaughey in a scene from «Killer Joe.»

And Scorsese was undoubtedly a key stylistic influence for two of the most direct precedents and palpable influences (John Woo's The Killer and Wong Kar - wai's As Tears Go By) for the film he himself has ended up remaking.

He did not simply depart from the facts of history, inventing, in the title characters, a squad of mostly Jewish - American killers led by a United States Army lieutenant from Tennessee; he rewrote the past in the vivid, visceral language of film fantasy.

Though it's loose in narrative, the general plot of the film focuses on six female spirits (played by Colette Kenny McKenna, Krystle Fitch, Anastasia Blue, Tanya Paoli, Kara A. Christiansen and Makaria Tsapatoris), all recently murdered by the same serial killer (Bryant W. Lohr Sr.), seemingly stuck on the threshold of reality and the afterlife, confined to the labyrinth passageways of a sort of purgatory-esque edifice.

«Cold Fish,» inspired by one of Japan's most notorious serial killers, and «Bedevilled,» the Korean revenge film and audience award winning favorite of the fest.

So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani - dressing versions of the violent mobsters who inhabit the crime section of the newspapers.

Bacon starred alongside Fred Ward, Finn Carter, Michael Gross and Reba McEntire in the original film about an isolated area of Nevada plagued by giant killer worms.

Henry: Portrait of a Serial Killer by Hope Madden Unlike any film of its time — horror or otherwise — ... read more →

Add to that crazy killer baby bit a very suspenseful score by composer Bernard Herrmann and you have a classic film that startles us time and time again with its off - screen shenanigans.

Unfolding like Roman Polanski's take on «The King of Marvin Gardens» while simultaneously serving as a suitable spiritual sequel to the director's debut, «Afterschool,» in which the male desire to connect meaningfully with others is frayed and warped by life experience, «Simon Killer» is Antonio Campos» latest chilly, chilling character study, with Corbet effectively replacing Ezra Miller, who led the previous film, as a neuroscience major who studied how the eyes and the brain relate, but has a seriously loose wire between his own brain and his heart.

But the premise that carried the first film (and the original Japanese trilogy and mini-series)-- the idea of a media - borne STD (or drug addiction), transformed here into something carried aloft by the virulence of peer pressure — is instantly discarded along with its deadline gimmick in favour of about two hours of garbage involving killer deer, a somnambulantly - possessed kid (if demonic possession renders your nine - year - old docile as a fawn, that's a trade - off some might be willing to make), and poor Naomi Watts huffing and puffing and delivering awful, repetitive monologues at her catatonic kid.

That falls inline with killer babies like those in Larry Cohen's It's Alive films, British film The Asphyx and Friedkin's The Exorcist, but despite the cast and supporting roles by Henry Beckman, Susan Hogan and Nicholas Campbell, the film never adds up to being very convincing.

My Friend Dahmer (Marc Meyers): Ross Lynch gives a haunted, sad, scary, and unforgettable performance as young (future serial killer) Jeffrey Dahmer in this electrifying film based on the graphic novel by Derf Backderf.

Fueled by a killer soundtrack that's almost a character unto itself, the film strives to be nothing more than entertaining, and we can tell that Wright loved every minute making it.

Jack's killer - disease revelation admittedly does inject the proceedings with some much - needed energy, although even this aspect of the film ultimately falls flat due to Bell's overtly sinister turn (ie one's efforts at buying into the character's claims are consistently thwarted by his exceedingly evil demeanor).

At times, Brooks seems to be over-sympathizing and romanticizing these two killers, but based on this film as well as the equally phenomenal «Capote», it seems like the Perry Smith character (in this case played by Robert Blake) had a heart and was truly sorry for his heinous act of violence.

Directed by Steve Chiodo (Critters), the film centers around creepy (and occasionally hysterical) alien Killer Klowns who are bent on dominating the planet..

Chief among the film's distinctions are the beautiful gloom of Conrad Hall's monochromatic cinematography... There are the fearless, wonderfully contrasting performances by Robert Blake and Scott Wilson as the sociopathic killers.

The film traces a serial killer Jack, played by Matt Dillon, confronting his own past, recollecting five moments of his life to a man he calls Verge.

«Toxie,» as he's called by punk bands and pop film critics everywhere, has become so famous since his introduction in 1984 that you can now buy Toxic Avenger action figures, games, Topps trading cards, and even designer jewelry — all this in tribute to a head - crushing killer whose face looks like it's been bashed in with a bag of nickels, impaled with a turkey fork and barbecued on a George Foreman grill.

Elements of religious iconology juxtapose against the occasional (and actually quite restrained despite the film's reputation) bursts of violence, and by revealing the killer's identity with some running time left switches the focus slightly in a refreshing way.

Mekhi Phifer makes a stand as Gunner in the killer - virus action film «Pandemic» by John Suits.

Attack of the Killer Donuts is directed by an American filmmaker named Scott Wheeler, who is also an experienced special / digital effects supervisor, camera operator, producer, and second unit director, plus director of a few other bad horror films previously including Martian Land, Transmorphers: Fall of Man, Sink Hole, and Avalanche Sharks.

The film is based on the crimes of serial killer Henry Lee Lucas and was the first independent film acquired for distribution by Roger Corman.

His career thus far both in front and behind the camera has been diverse to say the least from exploitation flicks shot for almost nothing like the Amateur Porn Star Killer series, to a film more considered and meaningful (and genuinely haunting) like My Name Is «A» By Anonymous, and scoring a lead role in an Albert Pyun one take film called The Interrogation of Cheryl Cooper.

The film is about a serial killer named Peter «the Doll Maker» Harris, played by Luke Macfarlane, who returns to his hometown after being «cured» in a mental hospital only to relapse into his spooky, doll - maker, serial killer ways.

But while centering a film on the bad guys may sound like a cool idea, it's massively hampered by the fact that the Suicide Squad team is mostly comprised of D - list characters (like Killer Frost and Captain Boomerang) so obscure that they're every bit as expendable as Waller claims them to be.

Though a PG - 13 slasher film is like the equivalent of sex with clothes on, «Happy Death Day» gets around that hurdle by being less of a straight - up slasher and more of a darkly comedic murder - mystery that just so happens to involve a temporal loop and a knife - wielding masked killer.

With the film giving us even more of a point - of - the - view of these deranged killers, who are later targeted by the sheriff, we still don't condone their actions but they show a bit more vulnerability than before.

The studio first released a trio of your typical, grainy, bathroom - wall - scratchiti one - sheets, with the film's animal - mask - wearing killers glaring at the viewer, accompanied by blood stains and an overall aesthetic that's been rampant in this genre since Se7en's opening credits.

An old dream come true for its director, John Krokidas, who spent years raising the money (the film was eventually produced by Killer Films, Christine Vachon's production company), Kill Your Darlingsreturns to 1944, at the time of the meeting between Allen Ginsberg (Daniel Radcliffe, shedding his Harry Potter virginity to embody an icon of sexual iconoclasm), Lucien Carr (an alluring Dane DeHan), William Burroughs (Ben Foster) and Jack Kerouac (Jack Huston).

Hailed as «electrifying» by the Los Angeles Times and dubbed a «fire breathing debut» by IndieWire, the film was executive produced by Killer Films, purchased out of Sundance by Netflix, and enjoyed a theatrical release in select American cities through distributor FilmRise.

In this film we find our protagonist, New York Detective Max Payne, still haunted by the murder of his wife and child at the hands of an unknown killer who has yet to be brought to justice.

The original film was a classic tale of revenge that followed an elite special agent (Lee Byung - hun, «G.I. Joe») whose pregnant fiancé is murdered by an evil madman (Choi Min - sik, «Oldboy»), prompting him to lure the killer into an increasingly violent and twisted game of cat - and - mouse.

Even by Ben Wheatley's genre - busting standards, this film is a triumph, centring on comedy and romance in a road movie about two violent serial killers.

Sony Pictures just released this killer new foreign poster for the upcoming film «The Green Hornet» by director Michel Gondry (Be Kind Rewind, Eternal Sunshine of the Spotless Mind) and starring Cameron Diaz (Shrek Forever After), Nicolas Cage (Astro Boy, Ghost Rider), Seth Rogen (Funny People), Edward James Olmos and Jay Chou ask Kato.

Lionsgate released this killer new movie poster for the upcoming action film «The Expendables 2» by...

Small Town Crime review: John Hawkes leads the cast of this crime movie, a film that follows the pursuit of a woman's killer by...

Karen Gillan is by far the show - stealer as the film makes it a point to criticize and support her impractically programmed adventuring attire, while giving her multiple dance karate battles set to cheesy 90s music earning her the name Ruby Roundhouse a.k.a. Man Killer.

The Killer Elite / Noon Wine (1966)(Twilight Time, Blu - ray)-- By even the most generous measure, The Killer Elite (1975) is one of Sam Peckinpah's weakest film.

The film, directed by Steven Soderbergh, would be worth seeing just for Stamp's performance, at once rock - hard and goofily blinkered, and for Peter Fonda's wittily self - parodic turn as the suspected killer, a music producer who coasts on»60s counterculture easiness while his lackeys do the dirty work.

Even The Price of Salt — her second novel, adapted last year, by film director Todd Haynes, as Carol — was more than merely a lesbian love story (certainly a bold enough literary statement for 1952, when it was first published), occupying, in its intense focus on desire and its consequences, similar territory to Highsmith's thrillers about killers.

The film titled The House That Jack Built is headlined by Matt Dillon as a serial killer and now Thurman has joined proceedings too, reuniting with her Nymphomaniac director.

Exorcist II: The Heretic stars a particularly impliable Richard Burton as Father Lamont, an exorcist asked by the Catholic church — for reasons unclear no matter how often they repeat the word «heresy» — to investigate the final days of the exorcist, Father Merrin (Max Von Sydow, reprising his role from the original film in mock flashbacks), necessitating that Lamont pay a visit to Regan (Linda Blair), The Exorcist's pre-teen victim and Merrin's surrogate killer.

Stylishly filmed in high - contrast black and white that is decorated with pops of color (red lips are a favorite), the film creates a violent fantasy land populated by sirens transitioning into stone - cold killers.