Sentences with phrase «even as a horror film»

And yet, it's not amusing, nor is it disturbing or shocking even as a horror film.

Not exact matches

Avnet (whose father, Jon, is a veteran Hollywood director and producer as well as the studio's co-CEO) told Fortune the studio wanted to maintain the film's authenticity — they wanted viewers to think the horror film playing out in real - time might really be happening — so they avoided marketing the movie and, in fact, they did not even run the idea by Snapchat before proceeding.

The film starts to pick up after it begins borrowing liberally from The Omen, even more liberally than the film's two predecessors which, as freak - accident horror films, are by definition Omen clones.

Even though it relies on a gripping feel of intense paranoia, this is an overlong sci - fi / horror movie that suffers from certain problems in logic and kills its tension with long passages that make the pacing irregular, not even being smart enough as an allegory like the original fEven though it relies on a gripping feel of intense paranoia, this is an overlong sci - fi / horror movie that suffers from certain problems in logic and kills its tension with long passages that make the pacing irregular, not even being smart enough as an allegory like the original feven being smart enough as an allegory like the original film.

I feel overall, the film should be rated a bit higher (3/4 stars), because it is a superb horror film and even if it was an experiment to show how simply the viewer can be manipulated through horror if done right - it deserves recognition for breaking that ground as well as for its technical mastery.

As far as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different wayAs far as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different wayas psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different wayas they approach the material in vastly different ways.

Not a bad schlocky horror flick overall, but the real reason this film is even remotely noteworthy is that it's the directorial debut of Francis Ford Coppola (credited as Francis Coppola in the credits).

Even more impressive, however, is Fessenden's ability to mix the objective with the subjective in the narrative, presenting his horror film as a very literal expression of a child coming to terms with the ugliness of adulthood.

Even horror - fantasy elements are mixed in, as if the very common occurrences within the film are the result of witchcraft or meddling supernatural forces, further diluting an already farfetched film to the breaking point of absurdity.

The Basil Rathbone Sherlock Holmes movies aren't usually thought of as film noir, but the dark shadowed setting of The Scarlet Claw (1944) comes close — and might even be considered along with the great Universal Studios horror films of the «30s and..

Other horror films this season have ranged from arty to schlocky, but the scales tip to the latter — and that seems to be what the majority of horror fans like; they consider films such as Clive Barker's «Lord of Illusions» and even a work such as «Species» as essentially «party movies.»

Aquaman will also feature a strikingly different world from that of other superhero films - something that also extends to other upcoming superhero movies, such as Marvel Studios» Doctor Strange (which dabbles in supernatural horror) or even 20th Century Fox's Wolverine 3 (an R - Rated film with a modern - western vibe).

It's not even that the film shifts wildly in tone as much as the fact that none of those tones work at all: the horror parts aren't scary and, surprisingly for Smith, the comedy bits aren't funny.

Even as it detours into generic horror tropes in the final act, the film is bolstered by a complex portrayal from Powley and a screenplay that smartly sidesteps fish - out - of - water clichés and instead focuses on Anna's psychological demons.

Rampage additionally combines components of a monster horror film with a crisis tentpole, army action - adventure and, as discussed previous, even a cosmic mystery at one level, additional showcasing Peyton's vary as a director within the procedure.

The dreamy and detached feel of the film sets it apart from most horror films, in a way that makes it sneak under your skin (heh), becoming more disturbing as you think back on it even than it was while viewing.

Despite devoting roughly half its running time to Ian and Sofi's relationship, I Origins is ultimately not a romance, or at least, not only a romance: As the plot advances, Cahill's film reveals new incarnations of itself in a variety of genre trappings — sci - fi parable, grisly medical drama, globe - trotting thriller, and even, in one bizarre and possibly genius scene, a Saw-esque horror flick.

By its very existence it begs the question of whether this (or the upcoming Kevin Costner vehicle Dragonfly) would even have been considered if not for the success of the supposedly non-influential The Blair Witch Project: a mainstream horror film that flies in the face of conventional genre wisdom (at least since The Exorcist) in refraining from gore as steadfastly as it refuses to show its bogeyman.

This brave appraisal of fear and uncertainty elevates The Stranger above any run - of - the - mill detective story, qualifying it as a horror - tinged film noir, even if it doesn't always evenly line up with the genre.

Even though this is an extremely well - made film, it's difficult to know who will enjoy it, as it's far too arty for horror genre fans and much too grisly for arthouse moviegoers.

Nevertheless, it does retain a small cult following, and can even be seen as a precursor of sorts to such films as the horror flick Event Horizon and Danny Boyle's dying sun thriller, Sunshine.

Presented by the hale San Francisco Film Society evenings and midnights at the historic Roxie, last year's presentation included one of this year's best films (Larry Fessenden's superb Wendigo) as well as the finest example of retro euro - horror (Lionel Delplanque's Deep in the Woods) since Dario Argento lost his marbles.

The man makes movies swaddled in horror's clothing, but even in his two purest horror films (Mimic and The Devil's Backbone), he isn't as interested in the horror of horror as much as the awe of horror; his eye captures phantasmagoric wonder instead of terror.

This is saying something because aliens terrify me, I'm even afraid of E.T. Still, the lack of violence or gore shouldn't limit the level of horror as a good film should be able to create a fear of the unknowable.

To give the film some credit, I appreciate when anyone — even unintentionally — pokes fun at society's reality TV obsession, but in this case the mashing of two well - worn horror subgenres only makes it twice as annoying that the film couldn't do either of them well.

I wouldn't even qualify the film's final moment as a typical M. Night Shyamalan twist, as it's something that isn't choreographed or foreshadowed nor does it change the absolutely stellar horror film that precedes it.

10 Cloverfield Lane: Even as a huge fan of this film, I will admit that shoehorning the horror film's plot into the already existing CLOVERFIELD universe was unnecessary.

In it, the cast and crew talk about the movie as if it's a great revolution in the history of horror films, which isn't even a little true.

As nouveau silent horror film, it's even better.

It's possible to be funny and make a horror film that deconstructs itself — I'm thinking not of The Monster Squad, probably The Cabin in the Woods» closest spiritual analogue (and even as I say that, I feel bad — while Fred Dekker is an idiot, he's our idiot), but of genuine genre masterpieces like John Landis's An American Werewolf in London, Sam Raimi's Evil Dead II: Dead By Dawn, and Edgar Wright's Shaun of the Dead.

For those of us who came to the Japanese filmmaker (and nearly never returned) via his hyper - violent, cult horror films Audition and Ichi the Killer, the barrage of comedies, musicals, even children's films can be as disorienting as the grisly sights of his alienating breakthroughs.

During the»90s horror boom, we also began to look outside the U.S. even beyond the Giallo films of Italy and Hammer films of the U.K. J - Horror and K - Horror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering Corrhorror boom, we also began to look outside the U.S. even beyond the Giallo films of Italy and Hammer films of the U.K. J - Horror and K - Horror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering CorrHorror and K - Horror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering CorrHorror became internationally recognized sub-genres, producing such terrifying classics as Audition, Ringu, Cure and Whispering Corridors.

Green Room is as brutal in its violence than even the most audacious horror film, and it's all presented with an ample amount of humor.

The concept was amazing and I really enjoyed the film, even though it went into the same direction as most horror films go.

Witchfinder General (1968) is the best picture in the collection, even if it's not a bona fide horror film so much as a genuinely disturbing historical drama.

While these films are physically violent, and haunting, Amour is both violent and haunting in an entirely different way, the Telegraph even described it as a «horror» which in many ways it truly is.

There's an undeniable playfulness to the film, even as its creepiest moments, making it a perfect pick for family horror night.

Not even the first film serves so well as an efficient and effective film first and horror movies second.

Dylan appears in a cameo cast as «an artist» in this Dennis Hopper film starring Dennis Hopper, Jodie Foster, Fred Ward, and even master of horror, Vincent Price.

The film makes for an agreeable spring diversion against such film horrors as Hardcore Henry and Batman v Superman: Dawn of Justice, even if it is far from complete or as satisfying as it could be.

Although the latter film managed to locate the interconnected depth of two seemingly - unrelated horror icons (the sins of the father as an invasion of the mind pitted against the unrestrained id, crying out for Mommy), Bride of Chucky only acts as the final confirmation that, even when injected with po - mo humour, Chucky isn't too interesting a character on his own.

On a side note, one thing that long - time survival horror fans might notice when watching is that the many aspects of the film are eerily reminiscent of the Silent Hill video game franchise, with several locations, visual aspects and even some of the monstrous creature designs being cited as influences upon the hugely successful video game franchise.

Horror fans struggle enough to find effective, quality stand - alone films and that possibility suffers even more with sequels, so to be gifted with both is a rare, rare treat we've come to expect from producers Jason Blum, Oren Peli, and James Wan (keep an eye out for his cameo as the director for whom Quinn auditions!).

Although even I, a devoted horror fan, recognize the faint praise of championing any film as ascendent in such a flawed sub-genre as slasher movies.

As directed by Mike Flanagan (one of today's most exciting horror talents), the action is now turned inside out, with Jessie's imagination and flashbacks to her harrowing childhood taking over, as she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minuteAs directed by Mike Flanagan (one of today's most exciting horror talents), the action is now turned inside out, with Jessie's imagination and flashbacks to her harrowing childhood taking over, as she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minuteas she converses with her out - of - body self, a stray dog hungry for flesh (yes, a Cujo joke is made), and her husband (who's a nasty asshole even dead) to stay alert, before the film veers into real horror - villainry in its final 10 minutes.

Based in the Detroit area, Malerman is one of agent Kristin Nelson's most promising talents, and Bird Box, yes, has a film option that's working its way through the Beverly Hills with exactly the speed that tends to make those events horrors that even I can recognize as such.

Enemy design is rather varied as the majority of the dozen or so enemies have unique attacks or abilities and vary in size, but have two things in common as they are all capable of creeping up from anywhere even through vents or sewers and look as though they are straight out of the most horrifying of horror films.