Halloween's John Carpenter fought hard to make his somber, disgusting masterpiece, an elegant combination of the director's synth - scored minimalism and a maximalist expression of special -
effects body horror (creatures designed by Rob Bottin).
Not exact matches
Ex Machina writer - director Alex Garland's unnerving sci - fi concoction combines gut - wrenching
body horror and trippy science to compelling
effect
Following a spot of genuinely unnerving
body horror courtesy of Teller's infinitely extendable arms, the second half is nothing more than a sub - «Avengers» roundelay of superhero tics: naff catchphrases, brain - grinding exposition and lifeless punch - ups, the talented cast totally overwhelmed by the duff CG special
effects.
Following a smidge of genuinely unnerving
body -
horror courtesy of Teller's infinitely extendable arms, the second half is nothing more than a sub-Avengers roundelay of superhero tics: dumb catchphrases, brain - grinding exposition and lifeless action scenes, the talented cast totally overwhelmed by lackluster CGI special
effects.
«The Lazarus
Effect» is what happens when hip, smart actors commit themselves —
body and soul — to a
horror movie.
«The Lazarus
Effect» is what happens when hip, smart actors commit themselves to a
horror movie,
body and soul.
It doesn't help that, when fairy - sized, the visual
effects department plopped their real heads on CGI
bodies, culminating in some awful
body horror - type uncanny valley
effect.
With a tight runtime, it's not that much of a chore to sit through, but The Lazarus
Effect is one of those
horror films where lack of character logic makes it hard to root for the
bodies that are inevitably going to pile on the floor.
Though even Jennifer's attacks are tame: I prefer the tense story twists of
horror over gore
effects, but even I was slightly disappointed by the fairly tame kill scenes and dead
body effects displayed here.