Sentences with phrase «characters than the horror»

Nina Forever is more about the characters than the horror, but its unsettling atmosphere works just as well as any scares.

Not exact matches

Gritty and claustrophobic, this British horror - thriller holds our interest with well - played characters rather than the wobbly plotting.

More than its cheekiness though was that «Scream» simply was an amazing horror movie: it utilized new technologies for ingenious kills, had two manic and yet unsuspecting killers, and had thoughtfully written and entertaining characters.

With so many teen thrillers taking the route of bad, sensationalist horror, it's nice to see a standard suspense vehicle come out once in a while, with better characterizations and fright earned through putting characters in potential jeopardy, rather than just cheap jump - scares and shrill music.

From Eric Bana's hackneyed character arc — a man wrestling with personal demons becomes obsessed with a particularly troubling case and subsequently even more distant from his family — to the merciless employment of jump scares, to the predictably lame conclusion that relies on nothing more than a standard exorcism to bring the horror to a crescendo, everything about this project suggests what Derrickson and company have to work with here is hand - me - down material.

There are a couple of setup / payoff moments that I didn't see coming, and the characters are clever, rather than simple horror movie fodder.

Owen Wilson, who I don't even remember being in this, gets a lot more to do than I remembered, complete with not just the misfortune of being the «horny guy» in a horror movie, but a functioning character arc that adds some middle act intrigue to the whole affair.

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.

What makes «Funny Games» different than any other campy - scary horror movie that gets off on tormenting its characters and teasing its audience?

Taking the time to establish the characters rather than jumping straight into the chills and thrills, West's fifth feature (with Cabin Fever 2: Spring Fever also on his resume) combines horror with humour in an offering purposefully full of contrasts.

With a cast of only five main characters, director Vincenzo Petrarolo is able to develop them better than in typical low - budget horror flicks.

It is nice to see a horror movie pay more than lip service to the character and that is partially down to Sophia Lillis going above and beyond in the child actor category.

And while the cast is wall - to - wall great, what's notable (for genre fans, anyway) is that the title character is played by none other than Anya Taylor - Joy, who broke out in this year's hit horror movie The Witch — only now it looks like she's the one doing the tormenting.

What really stands out about «Maggie» is its cast, as the ex-governor continues his return to acting with something different for him: a low - budget horror drama that's more of a character study than an action picture.

Yet when you throw in iconic horror character Michael Myers, the theme song to the Halloween movies and the first of a four - part storyline for Extinction, Onslaught is a little more than your run - of - the - mill CoD DLC.

After all, «Jennifer's Body» is a comedy first and a horror film second, and nobody writes high school characters better than Cody at the moment.

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.

Like many future horror classics, The Thing was hated on first release, dismissed as an Alien clone more interested in pushing the boundaries of SFX than in character or tension.

That The Sixth Sense was more of a ghost story and character study than all - out horror probably helped.

And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image than the crucifix scene?

From the get, director Johannes Roberts (47 Meters Down) abandons all pretense of heightening his horror film with dramatic subtexts and characters with more than one dimension — this is midnight movie fare through and through.

As it's always been, American Horror Story is more of a showcase of fine actors going H.A.M. on crazy characters than it is a narrative achievement, eliciting performances that are far more engrossing and meaningful than the show's often nonsensical and disappointing plot.

Almost all of the characters are dumber than they should be, examples; a doctor ends up committing one of horrors most offending rules, a young cop who is completely unconvincing, and one of the sisters that wants to make an escape but never tries very hard to do so.

The film gets too focused on story, rather than characters or horror.

He brings so much more to the material than other directors would have, giving it the tension and character so often missing from PG - 13 horror.

«Has more story and character development than the average horror flick» — Gilbert Seah, Festival Reviews

Any costume drama with Helena Bonham Carter in a main role probably is worth at least a look for her performance, and she commands attention as the story's most beguiling character, Miss Havisham, even though the way she's utilized feels borne more from the tradition of Gothic horror than customary.

Horror technique is tricky on a technical level, but richer characters and atmosphere can work magic for even the most familiar of tropes, and in that respect, Wildling works more than it doesn't.

When you buy a ticket to see a movie titled Alien vs. Predator, you're dropping that money to see two horror icons fight rather than watch a group of boring characters talk, and AvP no doubt suffers from a setup that can best be described as lackluster.

Where Holland's version of a geeky teenage boy confronted with the reality of a vampire living next door fell short, director Craig Gillespie's update follows through, offering a horror film that is at once funny in a modestly self - aware way, occasionally unsettling in its depiction of a bloodsucker as a murderous sexual predator, and conscious of ensuring that its main characters come across as more than potential or, in some cases, inevitable chow.

This new version does enough right that it vindicates its own right to be a remake of an earlier horror film; sticking close enough to the original plot, characters and even dialogue to pay the proper homage (in a lot of ways it's more update than remake!)

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The horrors of the Civil War are also made immediately felt through the characters» lives in quiet but such graphic prose that it made me feel I was understanding it for the first time as a fellow human being rather than a student of history.

The horrors of the Civil War are also made immediately felt through the characters» lives in quiet but such graphic prose that it made me feel I was understanding it for the first time as a fellow human being rather than a student of history... One beautiful passage at the end of the book stays with me and seems particularly relevant, perhaps, to our current political moment: «So much blood has been spilled that redemption may be out of reach in the end.

More than mastering the genre of horror, I admire his genius for character development, realistic dialog, and a pervasive sense of humor.

The quality of the voice work varies greatly, with many peripheral characters playing to the camera like exaggerated horror film stereotypes but Crane's solid vocal performance and the high quality of the soundtrack and the environmental sounds more than makes up for this minor niggle.

Any good horror game emphasizes that the character you are controlling is far less capable and knowledgeable than any of the forces opposing you — forces they may not even comprehend.

It's your basic horror - themed point - and - click adventure which, in a move hearkening back to old - school PnC games, makes use of a first - person view with static images, rather than actually letting players control a character.

But Yager, the developers, have promised new highs in the use of character and morality in the game, reaching for something more akin to the emotional horror of Apocalypse Now rather than the meathead spectacle of a Rambo movie.

Both games are told in an episodic format, from multiple character's perspectives and with a focus on survival horror, rather than action.

So rather than just being cannon fodder enemies like the monsters in most Survival Horror games, these ghosts actually feel like characters in the overall story.

«Moons of Madness is more than just a sci - fi psychological horror game, it's a project that the team has been brewing for a long time and aspires to redefine the genre by immersing the player into the character's psychology and its mental illness,» said Ivan Moen, CEO, Rock Pocket Games.