Sentences with phrase «characters in a horror film»

Survival is the implicit goal of characters in horror films, but a certain subset of these films are able to turn the act of survival into an existential quest, a powerful statement of defiance against the vagaries of the unknown.

Whenever characters in a horror film venture into the woods, bad stuff happens.

Not exact matches

Groups of young friends who go to see some of the more death - focused horror films in vogue of late will routinely take bets on which stock character will face a grisly end soonest, as when viewing the Final Destination series» a film series that is, essentially, the apex of the set - piece disaster horror movie as orchestrated by MacGyver.

«Kids» cartoon characters twice as likely to die as counterparts in films for adults: Content on a par with «rampant horrors» of popular films.»

The idea is to make you feel like a character trapped in a horror film.

Let's compare dating mistakes to the mistakes characters make in horror films.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

Characters act in ways that defy motivation or logic, lacking credulity way beyond the usual horror film tropes.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

When I first saw the trailer for this movie I thought it was good to be another awful horror film, but the twist led by the characters played by Bradley Whitford and Richard Jenkins makes this one of the most inventive horror films I've seen in a while.

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don't understand.

The film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores among four main characters costs him something in the intensity of audience identification.

Director Johannes Roberts begins the film with a synth - infused version of Kim Wilde's «Kids in America» and retro title styling, letting the audience know what decade of horror we're in for, even if the characters are blissfully unaware of what's coming.

Sean Harris is known for creating intense, offbeat characters in an eclectic range of films, such as Rowan Joffre's BRIGHTON ROCK, HARRY BROWN, THE RED RIDING trilogy, 24 HOUR PARTY PEOPLE, and the 2005, award - winning horror thriller ISOLATION, OUTLAW AND CREEP.

By the time one character reveals in a decrepit motel room that he is, in fact, «a child from the order» (or something), Revelation has completed its transformation from horror film to outright soap opera.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutin the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutIn The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

if I was Canadian, and interested in horror films, I might defend the film — its definitely creepy, but also you have a film here where the protagonist has zero character definition and much of the very deliberate color grading and lighting makes the film look like it has gaping continuity errors.

The film is rooted in Hollywood classicism, populated with idiosyncratic characters who have plenty of room to speak and interact in between the action / horror set pieces.

There are many reasons why The Thing is considered a top - tier horror movie, but the fact that any one of the stellar character actors featured in the film could actually be the titular shape - shifting alien creature is definitely one of them.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

The actress also noted that it was important for her to meet with the director so that they can talk about her execution of Michelle, as she feels how a female character is presented in a horror film is important.

The movie, which will be released in theaters tomorrow, also gripping leaves audiences questioning who it strong - willed characters are, and how their circumstances connect with the hit monster horror film, «Cloverfield.»

Fragoso: Mud, in contrast to a film like Take Shelter — which sort of revels in the psychological horrors of Michael Shannon's character — is a bit of a lighter film.

This alarming horror film, a brilliant debut for Australian director Jennifer Kent, is as hard to shake as its title character whether you take it as a straightforward monster film, a mental illness or grief allegory, or get hung up on its minefield of taboos (mothers who don't much like their children / over-medication of children / weapons in schools).

The joy of What We Do in the Shadows is that it's not so much mocking horror films so much as it is using characters whose traits are relatively well - known throughout all forms of media for centuries.

The characters from the upcoming horror film, «Paranormal Activity: The Marked Ones,» are warning audiences not to go in the basement.

For a horror film, this is unusually subtle and disturbing, rather than all - out scary, quietly profiling a creepy central character in ways that are designed to provoke the audience.

It's the little touches that culminate to create an atmosphere of horror, and a prime example in this film is the subtle, yet almost constant, rumbling noise in the distance, under the character's dialogue.

Like many horror sequels attempt and fail to accomplish, The Conjuring 2 takes careful stock of the characters it introduced in the first film, in this case within a nightmarish prelude, building on existing relationship with modest drama and vivid consternation.

The 1954 monster - horror Creature from the Black Lagoon was a huge influence: in that film, an aquatic monster known as Gill - Man becomes fascinated with a female character called Kay, who's part of a scientific expedition whose aim it is to capture or kill the monster and study its breathing.

The cinematography is minimalist yet breathtaking, and the character of Tomás (a creepy kid wearing a sewn - up potato sack for a mask) is one of the most effective plot devices of any horror film in the past decade.

Tucker and Dale Vs. Evil (dir: Eli Craig, U.S.) is not so much a horror comedy as a comedy where most of the characters are convinced they're in a horror film and act accordingly.

The film tosses in a late - developing twist, which may genuinely pique the interest of those who haven't given up on caring about these characters, but it's merely there in order to try to have some sort of ironic ending to what amounts to a nearly two - hour long episode of a TV horror anthology.

We don't watch horror or experimental films for finely drawn character studies but for their particular attention to what film theorists call «excess,» the stuff (color, music) that goes beyond the imperatives of most cinema, whether it's the excess that takes monstrous or supernatural shape in horror, or the material, structural, and textural excess of experimental films.

Much like other horror and thriller films, A Quiet Place has a dominating, droning score that, while fairly good in terms of melodic interest, somewhat undermines the feeling that everything should be utterly silent as our characters hide desperately from the monsters.

A few films in recent years have played predominantly on the element of sound in horror films — Don't Breathe and Hush both being textbook examples of sound design becoming a living, breathing character — but A Quiet Place takes it to the next level.

Doug Jones (born May 24, 1960) is an American film and television actor best known to science fiction, fantasy, and horror fans for his various roles playing non-human characters, often in heavy makeup, in films and television series such as Buffy the Vampire Slayer, Hellboy, Pan's Labyrinth and Fantastic Four: Rise of the Silver Surfer.

Best known in the U.S. for his otherworldly, elliptical horror films, Kurosawa is fundamentally a long - take classicist, crafting drama and tension through arrangements of characters within the frame.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

I want horror films that move slowly, and sink you in to life with the characters in their own homes.

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.

Political docs and Polish mermaid musicals, black - and - white horror flicks and Boston - based grief dramas, fratboy nightmares and female - bonding character studies — these were the films that had us buzzing in Park City.

THR writes that Bonnie Aarons (Drag Me to Hell) will reprise her role as the unholy sister in The Nun, New Line's latest spinoff from James Wan's horror universe based on characters from the Conjuring films.

In most horror films, and indeed in most suspense films of the Alfred Hitchcock tradition, the characters are at the mercy of the ploIn most horror films, and indeed in most suspense films of the Alfred Hitchcock tradition, the characters are at the mercy of the ploin most suspense films of the Alfred Hitchcock tradition, the characters are at the mercy of the plot.

Son of Saul: Hungarian director Laszlo Nemes has produced a Holocaust film here that, rather than pulling back to reveal the global - scale horror, pushed in ever more tightly on one character, to show that the horror doesn't abate when the millions of victims are boiled down to however many you can see with your own limited perspective.

Awkward performances, under developed characters, flat dialogue and bad dubbing are very common in his film as well as the films of his Italian horror contemporaries such as Mario Bava and Lucio Fulci.

In retrospect, the increase in Oscar nominations for horror films could be seen as an appreciation for the more sophisticated entrees in a genre that was still largely catering to teenagers who weren't terribly interested in character nuance or tight plottinIn retrospect, the increase in Oscar nominations for horror films could be seen as an appreciation for the more sophisticated entrees in a genre that was still largely catering to teenagers who weren't terribly interested in character nuance or tight plottinin Oscar nominations for horror films could be seen as an appreciation for the more sophisticated entrees in a genre that was still largely catering to teenagers who weren't terribly interested in character nuance or tight plottinin a genre that was still largely catering to teenagers who weren't terribly interested in character nuance or tight plottinin character nuance or tight plotting.

During an interview with New York radio station Hot 97, the revered actor questioned why British actor Daniel Kaluuya was cast as the lead character in the breakout horror film Get Out, which addresses racism in the U.S.; Jackson wondered why an African - American didn't get the role.

They were going to make a whodunnit slasher with a new villain (Ghostface) who preys on a group of teenagers and Neve Campbell in particular, but they were going to do it with one significant twist — as in reality, many of the characters would know horror films and the cliches and «rules» that came with them.