But while previews have eerie music and depictions of spooky creatures, Entertainment Weekly writer Chris Nashawaty says the film «forgets to be scary,» Variety writer Peter Debruge says there are «vacancies where the scares should be,» and Guardian writer Peter Bradshaw wrote that he is «less convinced by [director Guillermo Del Toro's] Halloweeny ghosts» than
by other aspects of the film.
Not exact matches
After the excitement
of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined
by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any
of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance
of every
other aspect of the
films with the understated timidity
of their scores, which seem to serve no purpose whatsoever.
This updated version follows the formula
of other Romero remakes
by upgrading the visuals and production value while at the same time gutting the story
of any satirical or sociological
aspects leaving a competent but rather generic horror
film that barely explores its underlying concepts, instead relying on
by the number horror
film «scares» and gore.
Other than the monster, all
aspects of this
film are backed
by either scientific or historical research.»
Like those
other films, Gallery is divided into a series
of segments highlighting different
aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged
by time; and administrators debating the best ways to persevere the museums brand and grow its audience.
This wild concept
of chaos reigning in a suburban neighborhood has its edge reduced
by its incomplete image
of characters, an
aspect that affected Get Him to the Greek in the past, and has made for slower moments in
other Stoller
films (on the
other hand, when characters were solid like in Forgetting Sarah Marshall, they lead to a great introduction for a bare - all Jason Segel).
The Wedding Planner passes
by with ease and this makes it passable entertainment while it lasts, yet every
aspect of the
film is so derivative
of other films, one could almost rightfully claim to have seen it without actually viewing it.
While in
other Hollywood - produced
films about perversions
of authority on the high seas, such as the various versions
of Mutiny on the Bounty (Frank Lloyd, 1935; Lewis Milestone, 1962) or Billy Budd (Peter Ustinov, 1962), a comparatively ordinary voyage is complicated
by the disastrously warped personality
of a deranged (thus, socially maladjusted) captain (Charles Laughton, Trevor Howard, Peter Ustinov), in Botany Bay the obscure and torturous solipsism
of the captain colours every
aspect of the voyage: he does not stand out as exemplary, but instead characterizes the «transportation» process itself.
Hop over to the
other similarly sterling yakker to hear DP Peter Deming (later cinematographer for David Lynch, Wes Craven, and Sam Raimi), co-screenwriter Richard Jefferies, and composer Terry Plumeri go into all
aspects of the production, such as the possibility
of a remake, the Chris Walas
film The Vagrant (also written
by Jefferies), and how the
film was so very angry.
More effort is put forth into the look
of the
film than in every
other aspect, and I suspect that viewers prone to being mindlessly entertained
by sparkling lights and whirring sounds will be mollified
by the many scenes
of bombastic flash and sizzle.
Directed
by Steven Spielberg and adapted to the screen
by Zak Penn and the novel's author, Ernest Cline, the
film's primary concern with finishing the game above all else forces all
other aspects of the story to ring hollow.
JU - ON: The Grudge for Wii is a Haunted House Simulator where accessibility and instant scares are given priority over all
other game
aspects, The title is inspired
by the Japanese classic horror movie, JU - ON, on which the American release
of the hit horror
film «The Grudge» was based upon.
Fan art, or fanart, are artworks created
by fans
of a work
of fiction (generally visual media such as comics,
film, television shows, or video games) and derived from a series character or
other aspect of that work.