Sentences with phrase «genre conventions»

I am a big lover of genre films that do something different with genre conventions.

I dig so much how this movie challenges several genre conventions in one single film.

I also love things that are silly, or bizarre, or that stray from the usual genre conventions.

Signs is different, using genre conventions brilliantly to tell a more intimate story about a man and where he feels his authority comes from.

Her small - scale, colorful paintings are rooted in abstract expressionism but fall outside traditional genre conventions.

It's an uncomfortable marriage of sentimental genre conventions and real - life tragedy — shown with graphic, shocking detail.

There's also the mixed messages the film relies on, tearing down the superhero genre conventions in the first half only to indulge in them in the second.

More than that, it set the world on fire precisely because it wasn't chasing arbitrary genre conventions.

It's the film's use of genre conventions of both the comic book movie and the high school dramedy.

Until Dawn's mix of Hollywood royalty (Hayden Panettiere and Rami Malek) and knowing twists on genre conventions won it a Bafta for Best Original Property.

A brilliantly taut and grisly horror - thriller that defies genre conventions at every turn, «Green Room» is one of the most intense moviegoing experiences in recent years.

Thanks to her long list of horror - film credits, including The Hills Have Eyes (1977) andThe Howling (1981), is a popular figure at genre conventions.

Superhero satire doesn't always play well on the big screen, but director James Gunn demonstrated his ability to tinker with established genre conventions with «Slither,» and besides — it's Dwight Schrute from «The Office» beating people up with a wrench.

Developed separately from the Millar - penned comic on which it's loosely based, Vaughn's film improves on that version in just about every way, delivering a smarter (but no less absurd) take on Cold War - era spy movies that embraces as many genre conventions as it breaks.

Give Edgar Wright credit; he's not one for genre convention.

Delivering genuine thrills and poignancy while subverting genre conventions, this striking debut for British director Michael Pearce is both gritty and polished.

Awash in the otherworldly atmosphere of a dark fairy tale, The Hallow cleverly toys with genre conventions while unleashing some of the most nightmarishly terrifying creatures in years.

This was a year when function and form Converged on screen in a perfect storm: The Big Shorts, the Carols, the Chi - Raqs, the Creeds Twist genre conventions to fit their own needs.

Instead, what we are left with is what feels and looks like a second - tier Scorsese gangster flick with genre conventions so generic and monotonous, you begin to feel as old as James Cagney.

Looking at this one film, to examine the heart of it beyond genre conventions and ties to a pre-established universe, you need to focus on perhaps the most necessary component of any great movie: Is it a good story?

«It was my go - to idea about how a game would function... But taking genre conventions as your starting point is kinda boring.»

While adhering closely to popcorn genre conventions, the film offers a visceral account of what Iranians suffered amid war and revolution.

Until the diverting special effects take center stage, this story, about an alien intelligence that builds an army out of flesh and metal, pathetically exploits genre conventions without generating self - reference, camp, or thrills.

Rather than deconstruct genre conventions, 1982's Venom seeks a simpler play between genres by melding a kidnapping thriller with a monster - in - the - house creature feature, apparently just to see how these usually disparate elements could inform one another when combined.

Again, it feels awfully conventional as the take - charge American puts together his team to go fix the situation, and nothing about the way it progresses rises above the crushing genre conventions.

Occasionally, the filmmakers reveal a cheeky willingness to upend genre conventions, particularly when bending the rules regarding who lives and who dies in this sort of pic.

But where Playing It Cool falls slightly however is that it's never sure of itself as to whether they are parodying genre conventions or just bowing down to them.

Genre conventions show up right on schedule (conflicting egos, creative differences, make - or - break gigs), while the decade's icons drop by for signposting guest appearances, but wistful or not, the film's magical musical tour isn't purely a nostalgia trip.

Frighteningly realistic at times, with moments that will have you squirming in your seat, and if Marshall could have only had the nerve to break free from staple genre conventions, this could have been one that would please more than horror junkies.

In their previous screenplays, Wright and Pegg have very shrewdly thrown genre conventions on their collective ear; they clearly love horror movies and action flicks and buddy comedies, and they understand the structure of those films with such clarity that they can rewrite the rules, scramble up our expectations and wind up with a creation that's both an homage to and a subversion of past classics.

Ryan Coogler's #BlackPanther claws through old genre conventions, bringing more faces that live in the present into a future where we can see more inclusion with intersectionally rich drama, action, & incredible experiences that will reach anyone no matter where they come from.

Ernest Tidyman's script tweaks buddy - cop stereotypes by compelling the audience to identify with a bigoted and obsessive loose cannon whose actions grow increasingly questionable, and subverts the tidy moral resolution demanded by genre convention, reflecting a darker, more ambivalent worldview, simultaneously hearkening back to the post-WWII high tide of film noir and resonant with Vietnam - era anxieties and tensions.

This Friday the 13th pokes fun at its own genre conventions and is probably the best of all the numerous instalments.

This fresh spin on the police procedural takes inspiration from Michael Connelly's novels and plays it pretty safe, smartly integrating genre conventions with its own voice.

When I first saw Funny Games it fascinated me because it seemed to demonstrate a devotee's appreciation of genre conventions even as it put forth a subversive agenda.

When not reporting on the latest news for Screenrant, he enjoys attending genre conventions, going to theme parks, and rocking out at concerts.

But his film also gently subverts the form, as the heroes» acts of heroism never turn out quite as they'd planned, or quite as genre convention dictates they should.

Although at times channeling Malick — even featuring Sam Shepard early in the film — and carefully utilizing western genre convention, Dominik broke through in his sophomore effort with an elliptic reverie on obsession and notoriety that displayed an assured patience well beyond his relative inexperience.

It's no wonder, then, that Cronenberg's The Fly is essentially the genetic splicing of his trademark obsessions with these hallowed genre conventions.

Mainstream audiences finally understand what comic nerds have been geeking out over for the past half a century, but this new understanding also lends itself to new questions about genre conventions.

Fresh: Anvari deftly builds and sustains tension throughout, crafting a horror movie that respects genre conventions (right down to the safe / not safe ending), while firmly establishing its own distinctive identity.

It's disappointing to note, then, that director Tim Miller can't help but indulge in genre conventions during the movie's overblown, CGI - heavy climax, which ultimately does ensure that Deadpool concludes on a decidedly less - than - enthralling note - and yet Miller's inability to stick the landing can't entirely diminish what is mostly a solid big - budget extravaganza.

I have serious issues with some of the silly almost sitcom - y genre conventions Nicole Holofcener throws into the second and third acts of Enough Said.

As far as suspense films go, Speed has all the right genre conventions: a restricted space and a restricted timeframe, and a tonne of creative potential for exploring the possibilities of those restrictions.

Garland, as a storyteller, has a long track record of putting semi-surreal and though - provoking spins on sci - fi genre conventions with his work too; be it with Ex Machina, his decidedly post-modern 1998 novel, The Tesseract, or his screenplay for director Danny Boyle's 2007 film, Sunshine.