Sentences with phrase «ended as a thriller»

It started as a mystery but ended as a thriller.

Not exact matches

A real end - to - end contest saw 10 - player Tottenham Hotspur Ladies fall just short in a seven - goal thriller against nine - player Sheffield FC, as the hosts took the spoils in a feisty 4 - 3 FAWSL 2 contest at Dronfield.

The thriller «Wicker Park,» which opens Friday, stars Josh Hartnett as a young heartbroken investment banker who settles in the neighborhood and ends up on an obsessive search for his lost love.

A buddy - cop thriller recast as Dante's sojourn in Hell, this graphic, allusion - littered film stands the conventions of the genre on end — along with the viewer's hair.

Even though it ends in violence, Days of Heaven plays out not as a rural thriller but as a delicate study of character and landscape.

When Besson had a huge hit with his 1990 thriller La Femme Nikita, The New Yorker's one - line blurb for it was «The end of French Cinema as we know it.»

Even though it ends in violence, Days of Heaven plays out not as a rural thriller but as a delicate landscape and character study.

Get Carter works as a revenge thriller because Mike Hodges had the confidence to make us subversively root for Jack and then show how his violent acts destroy him in the iconic, near - perfect ending.

A low budget British thriller that is pretty tense and gripping, With some good performances from the cast especially Jack O» Connell, The story has been done before but the whole mystery to it kept it fresh, We all knew how it would end and when we found out who the killer was it wasn't a great surprise, A few gruesome scenes keep it entertaining, It's as good as it ever was going to be.

The end result is a well - intentioned yet hopelessly ineffective thriller that would've been better off with a more talented filmmaker at the helm, as it's becoming all - too - obvious that Berg simply doesn't have the chops to handle big - budget action fare.

As one character in the thriller declares, «the Cold War never ended.»

This is a fantastically spun tale which starts out as a bleak expose about death for cash, which forms into a story of friendship, but delves back down into revenge, reemerges for justice and redemption, and then turns into a cat and mouse thriller for a while until unraveling into a blood - thirsty mess of explosions and bullets before finding its ending.

It's the end of the world as we know it - once again - in «Revolt,» a propulsive, no - nonsense sci - fi thriller that's far more watchable than its generic title may imply.

While the beginning of the film feels like it's setting the audience up for a somewhat boring lesson on drone warfare (I'm looking at you, Good Kill), Hood — still wiping the sting of X-Men Origins: Wolverine off with Ender's Game and now this — excellently threads the needle of tension and, before you know it, the thriller aspect of the film becomes abundantly clear as the series of events play out in semi-real time over the course of one day.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

Adapted from the short film by director David F. Sandberg and adapted by horror - centric screenwriter Eric Heiserrer, Lights Out may be a quick, simple, and slightly familiar piece of PG -13-level horror, but it's also a well - made and unexpectedly engaging thriller as well — with an ending that's sure to generate at least a small amount of debate among horror fans.

I will say the script doesn't utilize its supporting players nearly as well I personally wanted it to, and the lapses into horror convention, especially near the end, aren't nearly as successful as the psychologically unbalanced elements that make up the majority of the thriller's 97 minute running time.

Where the Sidewalk Ends is a crackling thriller / procedural, abounding in screenwriter Ben Hecht's characteristically punchy dialogue and Preminger's viscerally, velvety, elegantly intricate long takes, though there's also, as in all of Preminger's noirs, a subtextual undertow.

It's a surefire way to make sure your psychological thriller is seen as both «nuanced» and «provocative,» without having to deliver a satisfying end to the story you've been telling for 97 minutes.

In this tale of an unexpected family unit, he doesn't find humor but instead a thoroughly gray compassion, in a film that begins as an uneasy thriller and ends as a delicate (if sometimes too wistful) romance story, with the audience on - board nonetheless throughout its shifts.

Paulina (Unrated) Dolores Fonzi plays the title character of this crime thriller, set in Argentina, as a lawyer who abandons a promising career in Buenos Aires to teach high school in her hometown, only to end up brutally assaulted by a local gang.

It's appropriate that the end credits of Halloweens hould refer to the menacing hometown boy as The Shape: this superior low - budget thriller is form made fiercely functional, style as the delicious complicity between storyteller and audience.

Unusual, unpredictable and unpleasant, this starts out as domestic drama, transforms into a thriller with black comedy elements, then ends up in «Wicker Man «territory.

For instance, Anthony and Joe Russos» Captain America: The Winter Soldier was billed as being a political thriller, whereas Jon Watts» Spider - Man: Homecoming was aiming for a John Hughes-esque coming of age theme - and both films ended up working out.

Netflix has released a new trailer for its fantasy action - thriller Bright, which sees director David Ayer (End of Watch, Suicide Squad) directing Will Smith and Joel Edgerton as two LAPD police officers — one human and one orc — who form a most unlikely duo working to keep the mean streets of Los Angeles safe from a sinister underworld filled with gang violence and dark forces at work.

This dark, grizzled thriller is a violent punch to the face of superhero movie convention - and a moving end to Hugh Jackman's run as Wolverine.

Though Besson is clearly intent on exploring deeper, philosophical themes with «Lucy,» he doesn't seem to know what they are, or at the very least, able to convey them in a manner that doesn't come across as just a bunch of gobbledygook tacked on at the end of a lifeless action thriller.

In the international thriller Erased, ex-CIA agent Ben Logan (Aaron Eckhart) discovers that he and his teenaged daughter (Liana Liberato) have been marked for termination as part of a wide - reaching conspiracy that he unknowingly ended up right in the middle...

About Bright Set in an alternate present - day, this action - thriller directed by David Ayer (Suicide Squad, End of Watch, writer of Training Day) follows two cops from very different backgrounds (Ward, a human played by Will Smith, and Jakoby, an orc played by Joel Edgerton) who embark on a routine patrol night that will ultimately alter the future as their world knows it.

A bold new action - thriller from director David Ayer (known for such box office hits as Suicide Squad, End of Watch and Training Day), Bright follows the story of two LAPD police officers played by Smith, a human named Officer Ward, and Edgerton, an orc named Officer Jakoby, who form a most unlikely duo working to keep the mean streets of Los Angeles safe from a sinister, fantasy underworld filled with violence and dark forces at work.

Opening in September: Kirsten Dunst and Isla Fisher take a turn in the comic bridesmaid well in «Bachelorette» (Friday); Bradley Cooper is an author whose stolen work becomes a hit in «The Words» (Friday), a thriller co-starring Jeremy Irons and Dennis Quaid (see story on Page 17); Pixar adds another dimension to one of its most popular films in «Finding Nemo 3 - D» (Sept. 14); Milla Jovovich returns for one more zombie slaughter in «Resident Evil: Retribution» (Sept. 14); Jake Gyllenhaal and Michael Peña are Los Angeles cops in «End of Watch» (Sept. 21), which aims for a realistic look at inner - city law enforcement; Elizabeth Shue and Jennifer Lawrence are mother and daughter, discovering a horror - tinged secret in «House at the End of the Street» (Sept. 21); Karl Urban plays «Dredd» (Sept. 21), a helmeted avenger who cleans up the futuristic Mega City as its judge, jury and (wait for it...) executioner; In the animated «Hotel Transylvania,» Dracula (voiced by Adam Sandler) struggles to cope with his daughter's new non-vampire love interest (Sept. 28).

Dark and oppressive, yet equally suspenseful and powerful, Prisoners may not have the best ending and may leave many with a bad taste, but it is effective as a thriller nonetheless.

Emily Blunt as «Sara» and Joseph Gordon - Levitt as «Joe» in TriStar Pictures, Film District, and End Game Entertainment's action thriller LOOPER.

Knowing those chunks of information help explain the Creeper's need to feed in Jeepers Creepers 2, a pretty decent thriller, whose streamlined narrative picks up where the first left off, as the Creeper assaults a stranded busload of stupid high school jocks with less than 24 hours before the 23 - year meatfest must end.

Had it gone for all - out depravity, it might have ended up being notorious or at least memorable but as it stands, The Cottage is a cheesy stereotypical thriller that squanders the effective set - up it begins with.

Derek Luke and Lindsay Sloane have joined the project «Seeking A Friend At The End of the World,» Bryan Singer is producing the unfortunately titled Internet thriller «uwantme2killhim,» «Rabbit Hole» actor Miles Teller will star in «21 And Over,» which will be directed by ««The Hangover» writers Jon Lucas and Scott Moore, «300» writer Kurt Johnstad has been drafted to rework the script for James Mangold «s «The Gunslinger,» and lastly, «Saw» director Darren Bousman is going to helm what is being described as a «The Shining «- style horror tale called «The Barrens.»

Tony Scott's workmanlike remake of the classic 1970s thriller stars Denzel Washington as a New York subway dispatcher who ends up being the go - between in a subterranean hostage crisis.

Brad Pitt leads the thriller which has had a rather rocky road to the big - screen, with Paramount Pictures confirming Damon Lindelof was brought in to do a script rewrite and fix the ending, as well 4 weeks of reshoots.

Once the viewer gets past that colossally misguided decision, however, Jurassic Park III manages to establish itself as a quick - paced and action - packed thriller that does, for the most part, hold one's interest throughout (even if the whole thing basically vanishes from one's memory before the end credits even finish rolling).

The end result is a better - than - average thriller that bodes well for Edgerton's future endeavors as a screenwriter, with Felony's palpable success cemented by a final shot that couldn't possibly be more perfect.

An American remake sounded like a suicide mission, the sort of wrong - headed thinking that allowed the superb and uncompromising Dutch thriller The Vanishing to be remade as a dim - witted Yankee property, complete with a tacked - on happy ending.

Steven Soderbergh shot the creepy psychological thriller «Unsane» on an iPhone 7 Plus, and while it certainly doesn't have even a low percentage of the visual richness and vibrant light and fill - the - screen magnificence of high - end Soderbergh films such as «Erin Brockovich,» «Ocean's Eleven» and «Logan Lucky,» let's not kid ourselves:

Though essentially entertaining, Untraceable ultimately comes off as a generic, garden - variety thriller that's almost entirely lacking in genuine thrills or surprises - with the end result an effort that bears more than a few similarities to such like - minded small - screen endeavors as Law and Order and CSI.

A contemporary, potentially timely, Russian - centered espionage thriller (minus, alas, any recognizable thrills), Red Sparrow ends as it begins, as an unlikely, ultimately forgettable misfire unlikely to appear in career highlight reels for second youngest performer to win an Academy Award for Best Actress (Silver Linings Playbook).

Mitchum is as sympathetic and charismatic as ever in this gripping thriller to rival Preminger's other great noirs (Laura, Whirlpool, Where the Sidewalk Ends).

It's clear, too, that Remember works as a periodically affecting drama and look at the rigors of aging, while the surprising third act ensures that the movie ends on an exceedingly positive note - which ultimately does secure the picture's place as a top - notch thriller from a director one might've been inclined to simply write off.

A better word for «weak» would be «hodgepodge,» as the psychological thriller cum horror «A Cure for Wellness» brings in elements from «Bride of Frankenstein,» «The Phantom of the Opera,» «Hostel 2,» and all the laughable sci - fi pictures of the 1950's wherein the scripts for dystopian civilizations seem often enough to end up with «Perhaps we scientists would be better off if we did not interfere with nature.»

Regular collaborator Simon Barrett returned to pen the screenplay, for what sounds like another family and friends vs. interloper thriller we ended up relishing — it topped my festival slate and placed equally as well on Jordan's list.

Red Sparrow, the new film from Hunger Games director Francis Lawrence and star Jennifer Lawrence, is a convoluted spy thriller with as many twists and turns as one might expect from this type of movie - and one shocking ending.

That landed him right at the deep end, hired by Leonardo DiCaprio «s Appian Way company to adapt an Atlantic Monthly article into «The Infiltrator,» a thriller about a British spy undercover in the I.R.A. Again, that film's not yet made it out of development hell, but it worked, as Zetumer is perhaps the only man to have written for two of the biggest espionage franchises — he did a script polish on 007 entry «Quantum of Solace,» and was hired by Universal (albeit without the knowledge of Paul Greengrass, hence the director's exit from the franchise) to write an unused draft for a fourth «Bourne «movie.