Sentences with phrase «fright scenes»

The filmmakers also ignore Romero's approach to fright scenes.

First - time Director Carlos Ramos Jr. stages some interesting fright scenes, but the rest of the movie is incredibly flat.

The non-horror elements of the film are uneven in general: The score, so effective in the fright scenes, suddenly evokes eye rolls when things start to get sentimental, and there's one scene of unintentional comedy where the film's retro»70s setting — another element downplayed in the first film but foregrounded here — collides with its demonic imagery in an honestly pretty silly way.

It's never a good sign when fright scenes and emotional high points prompt sniggers in the theatre.

Not exact matches

It first started with my infatuation / fright of Forensic Files and that risk of seeing blurry, sepia - toned crime scene photos.

There are scenes of unseen, patient terrors; invigorating, only - caught - a-glimpse scares; and some big frights with huge, loud noises and shaking, rumbling, bass.

The most nerve - wracking scene is simply watching Deanna give an oral presentation with extreme stage fright that triggers her to sweat through her clothes.

There is a horror / fantasy element thrown in that does manage to breathe a touch of intrigue, but the nature of these strange sights and sounds is given away too early in the story to find interesting, resulting in subsequent scenes of harrowing, delusionary winged - monster attacks lacking in genuine fright.

Of course the location checks all the other boxes on the scary list, with abrupt sound effects serving as the motivation for «jump scenes» and dark, dingy rooms revealing visual frights.

A scene involving little more than a bed sheet and torchlight is far and away the film's highlight, but typical jump scares and the occasional bloody gore sometimes overpower the more subtle frights.

The film features multiple scenes in which «Toni,» sporting a ludicrous fright wig and fake teeth, unexpectedly shows up to embarrass his daughter at important work functions; there's also a showstopping karaoke performance (of sorts) and an extended, screamingly funny set piece involving nonsexual full - frontal nudity.

A fright - wigged Spacek is notable in her one scene and the latter definitely makes for some (no pun intended) cool visuals.

Speaking of, lots of little nods to the first one: Jerry's love of apples, «Welcome to Fright Night, for real,» the night club scene, etc..

FRIGHT NIGHT is easily one of the best supernatural action films of the past ten years, and it also makes you wonder why Tennant isn't in more Hollywood films after his scene - stealing turn as vampire hunter Vincent.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

The Story of Fright Night, which takes us behind - the - scenes of the cult 1985 horror.

Title has no sense of the rhythm of material like this, so the attempts at frights happen without much or any context (Basic staging is a significant problem here: In one scene, four actors are talking, and each one is shot in complete isolation, meaning we're spending more time determining who's responding to whom instead of listening to them).

But «Fright Night's» musical centerpiece belongs to its club seduction scene as Jerry puts the Studio 54 moves on Brewster's ammorata Amanda, her dance with an invisible man given burning cool new wave licks with Ian Hunter's «Good Man in a Bad Time,» a sort of more accessible Bauhaus - styled, if way peppier Goth - rock number, brilliantly cut to Dandridge's dance moves.

The figure of the muse, Robert Graves's «Mother of all Living, the ancient power of fright and lust», became less burdensome as manifested in The Giantess (c. 1950), whose colossal central figure towers over the scene like a Madonna della Misericordia.