But we'll focus on films a little more clearly
defined as horror.
Not exact matches
In Just War Against Terror Elshtain argues «that true international justice is
defined as the equal claim of all persons in the world to having coercive force deployed in their behalf if they are victims of one of the many
horrors attendant upon radical political instability....
Taken together, and reflecting on all the elements of the story, «Dementia 13»
defines itself
as a satisfying
horror mystery that laid the groundwork for future greatness for it's young director Francis (minus the Ford) Coppola.
I
define «social thriller»
as thriller /
horror movies where the ultimate villain is society.
Starting with Sam Raimi «s iconic original film, through his increasingly comedic (and deranged) sequels, Fede Alvarez «s grisly remake, and the long - awaited return of Bruce Campbell «s chainsaw - wielding hero in the Starz original series Ash vs. Evil Dead, the
horror franchise has proven
as elastic
as it is enduring, able to mold to the specific demands of each new iteration without losing that delirious double shot of zany personality that
defines it.
Taking inspiration from films like The Innocents and The Haunting, Del Toro has been pretty vocal about
defining his latest project
as a gothic romance, rather than a traditional
horror movie.
The pacing, the decor, the LPs on the endlessly running old turntable (cliché alert), and especially the spooky nature of the home invasion, all belong to an era when Stephen King and Brian De Palma ruled and movies such
as Carrie, The Omen, Texas Chainsaw Massacre and Jaws
defined the
horror genre.
The pop - cultural consensus on
horror director Tobe Hooper would seem to be that, with The Texas Chainsaw Massacre, he somehow made one of the genre's
defining masterpieces right out of the gate only to squander a promising career on a string of strange mediocrities that ultimately marked him more
as a hack - for - hire than an auteur in the tradition of more respected contemporaries such
as John Carpenter, Wes Craven, or George A. Romero.
Hammer is synonymous with
horror, after
defining the genre in Britain with classics such
as Dracula, The Curse of Frankenstein and The Mummy, which spawned numerous sequels.
Susan Wloszczyna: Mudbound gets under your skin early and often
as the indecencies and
horrors of the Jim Crow - era South
define and shape the destinies of two families — one white, one black — who are tied together by the land they share.
Like the terse and quasi-abstract chapter headings that structure the narrative — titles such
as «remorse,» «the ambassadors,» «my best enemy,» and «lone rider» — The Sentinel is limited
as well
as defined by an overall sense of being stranded, suggesting that the cold war, for all its
horrors, offered a sense of time and place that younger generations no longer find accessible.
Mikami said he hopes to return to survival
horror — which he
defined as «a balance between a scary kind of gameplay and the challenge of overcoming that fear» — in The Evil Within.
However, if you
define horror as general fuck - up - ed - ness, then this would easily nestle into your designation of the genre.
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The Evil Within 2 stills needs to
define itself
as to what
horror game it wants to be.
As a master of the «survival horror» genre, Shinji Mikami is committed to making a game that is the realization of * pure * survival horror, an experience which he defines as one that pushes the limits of fear and exhilaratio
As a master of the «survival
horror» genre, Shinji Mikami is committed to making a game that is the realization of * pure * survival
horror, an experience which he
defines as one that pushes the limits of fear and exhilaratio
as one that pushes the limits of fear and exhilaration.
As I've mentioned in my VR mumblings and my thoughts on the evolution of
horror, Resident Evil VII (and, in different regards, Ace Combat 7) can
define the role of large, 3rd party publishers on the VR — which, in my opinion, will make or break the success of the overall equipment.
[ILLUSTRATION OMITTED][ILLUSTRATION OMITTED] FOR THIS ISSUE»S Dispatch, Artforum goes south, to Rio de Janeiro — a city
as defined by myths of sensualist extravagance
as it is by
horror...