Pondering the current state of the horror
genre following a decade - long absence from the big screen (alleviated by strong work on cable), Carpenter must decide, like Frost, «what to make of a diminished thing.»
Not exact matches
They're often formulaic and
follow a well - worn path originally etched out by classic capers such as John Huston's THE ASPHALT JUNGLE (1950), Jules Dassin's RIFIFI (1955), Alexander Mackendrick's THE LADYKILLERS (1955), Jean - Pierre Melville's BOB LE FLAMBEUR (1955) and Stanley Kubrick's THE KILLING (1956) but the best heist films take unexpected turns and leave their own special mark on a
genre that seems to find new ways to define itself every
decade.
The last
decade or so has seen the
genre been stuck with gimmicks, like the «torture porn» craze that came with the likes of the Saw franchise and Hostel, or the «found footage» boom emerged
following the massive success of the atrocious Paranormal Activity films.
Though the «sex equals death» rule isn't as prominent in modern horror movies that defy those
decades - old tropes, «It
Follows» is very much a retro homage to «70s and «80s
genre classics, from the «Halloween» - esque synth score, to the striking similarities to «Nightmare on Elm Street,» both in Jay's perpetual helplessness and the film's dreamlike atmosphere.
Nocturnal Animals (Tom Ford, 2016) For every
decade the thriller
genre needs a stylist and
following on from A Single Man (2009) Ford here presents a nightmarish tale of noirish revenge via a novel written by the ex-husband of a local gallery owner.