With the woods laced in booby traps and a killer kid behind all the carnage, Cub offers a standard, yet
fun midnight movie with enough of the red stuff to find a cozy little spot in the genre.
Not exact matches
It was
fun to see a modern - day interpretation of a silent film, but it didn't bring much more to the table than that gimmick, and it doesn't hold a special place as a memorable and impactful
movie the way its fellow nominees «The Tree of Life,» «
Midnight in Paris,» and «Moneyball» do.
I miss the
fun of book releases and
midnight movie premieres.
It was raucous and
fun and no one had cell phones — everything a
midnight movie should be.
There's technical verve a-plenty, and evidence that Nichols will continue to grow with his future projects, but
Midnight Special feels more like a
fun time at the
movies that should have been an otherworldly blast.
The film thereafter establishes itself as a fast - paced, downright
fun horror -
movie ride that's ideally suited to its
Midnight Madness slot, although it's admittedly difficult not to question the inclusion of an entirely useless subplot detailing the ongoing exploits of Brent's best friend (ie it seems like the two storylines are going to converge at some point, but this never happens).
Get Out turns out to be more
fun, and more provocative, than it is scary, at least in the traditional
midnight -
movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.