Sentences with phrase «given in horror films»

Not exact matches

I enjoyed the film as a horror / comedy, but I can't give it one of my TOP ratings simply because I was in the mood to get scared tonight - and there's nothing particularly scary about this film.

Any relief at the revelation that that violence is not going down in the film's present - day reality, though, just as quickly gives way to the deeper horror about what Moll and her community might be hiding from us.

This sequel does willingly give itself make to Meta, and with gusto, bringing in an entirely new cast to replace the archetypes of the original and jumpstarting the original's breadth of knowledge on horror films.

In her second R - rated horror film, she gives it everything she has, physically and emotionally, as Kinsey.

Writer - director Thom Eberhardt (Captain Ron, The Night Before), who had just come off of a similar survivalist horror tale, Sole Survivor, imbues his film with a tongue planted firmly in his cheek, and a genuine love for the various B - movie genres that gives the film the necessary sense of fun needed in order to not get bogged down in deadly seriousness that would have done the film in for sure.

Simple, effective, and it gives very little away — this poster for It Comes at Night is a masterclass in horror film promo, from the white dog contrasting against the darkness to the staggered font.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

Peele is clearly a horror fan, and he gives knowing winks to many genre cliches (the jump scare, the dream) while anchoring his entire film in the upending of the «final girl.»

Remaking hit Japanese horror movies (a la «The Ring») is Hollywood's latest plan to rake in big bucks without actually having to be creative or original — and while «The Grudge» is nothing more than a cultural twist on the standard - issue haunted house movie, I will give credit to director Takashi Shimizu (remaking his own film «Ju - On») for giving me goosebumps.

The ramifications of killing for art's sake have long been fair game for film treatment, especially in movies that tap the horror - comedy vein, whether the target of the humor is the reception of the resultant artworks (Roger Corman's A Bucket of Blood gives it in the neck to Beatnik poseurs) or else their inspiration (Herschell Gordon Lewis's sanguinary variation on the theme, Color Me Blood Red).

Winstead's wide - eyed cringing in the lead doesn't give the film much personality — particularly by comparison with Kurt Russell's shaggy swagger in the 1982 version — and the concepts and visuals that don't come from Carpenter instead come from Ridley Scott's Alien, or David Cronenberg's body - horror films.

The film also gave Coy, an admitted long - time horror fanatic, the opportunity to work with Spiegel, a man who played a role in some of his favorite horror films.

It gives the idea of consumerism run wild the short shrift that it deserves (and the cynicism that an intervening quarter - century demands), touching on the original's explanation of the zombies» affinity for the shopping mall and the human heroes» delight at their newfound material wealth before becoming a bracing action film that, like Marcus Nispel's reworking of The Texas Chainsaw Massacre (the source of which didn't need updating as much as Dawn arguably did), is more firmly entrenched in the James Cameron Aliens tradition than the Seventies institution of disconcerting personal horror film.

Some of the other facts included the manner in which Hitch financed Psycho (mortgaged the house) when no studio would give him the financing for a mere horror film, and the lack of support from Paramount in releasing it (to two theaters, with little to no marketing — that was dreamt up by Hitch).

I was used to Craven giving me films like «Nightmare on Elm Street,» and this simply wasn't going to cut it in terms of horror.

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.

The film tosses in a late - developing twist, which may genuinely pique the interest of those who haven't given up on caring about these characters, but it's merely there in order to try to have some sort of ironic ending to what amounts to a nearly two - hour long episode of a TV horror anthology.

In recent years we've gotten fresh takes on old formulas with films like The Conjuring and The Innkeepers that gave me hope that horror wasn't lost, but 2014 has been a dire stretch of one weak performer after another and I can only trust that Hollywood is paying attention and will see the tide turn in the near futurIn recent years we've gotten fresh takes on old formulas with films like The Conjuring and The Innkeepers that gave me hope that horror wasn't lost, but 2014 has been a dire stretch of one weak performer after another and I can only trust that Hollywood is paying attention and will see the tide turn in the near futurin the near future.

For my money, I think there's only a handful of truly great horror films in any given decade, but our own Tim Buel sees many more films in that genre than I do each year.

It comes off, however, like a half - baked comedy, a flatly crafted horror feature, and a dully - paced, sometimes amateurish film that never lives up to the high points of what the writer / director has given us in the past.

Afflicted rips the throats out of its horror competition this year, giving us the coolest, most energetic genre film in a while.

Govaerts, who co-wrote the screenplay with Roel Mondelaers, accomplishes so much with his slasher film, giving the story plenty of room to gestate while still giving us moments of horror and terror in equal amounts.

Writer / director Michael Dougherty has given movie buffs everywhere a gift, not just in terms of crafting an excellent film (one that's assuredly destined for cult classic status), but in granting us the opportunity to surprise the hell out of all of our friends on Halloween night with a trippy little horror flick that they know nothing about.

The mid -» 70's through the mid -» 80's saw scores for horror films reach a pinnacle of brilliantly chilling extravagance Sasha and I have chosen 12 composers who gave us goosebumps in 13 films.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

While it may not quite make it into the Gremlins strata of holiday horror classics, its liberal use of real performers in special make - up and costumes, as well as practical effects did warm my cold heart and gave me a bit of a nostalgic glow for those films with which I grew up.

The horror film Winchester, managed to illicit enough scares to bring in $ 2.2 million to give it a three - week total of $ 21.9 million, before more than likely, leaving the top ten next week.

I've tried again and again to give it a chance, watching both the director's cut and theatrical cut, hoping that I'd fall in love with the film like my fellow horror film lovers.

Today, it's clear Shyamalan has been paying close attention to the last fifteen years of horror and suspense, because with The Visit he's given us one of the best found - footage horror films I've seen in years.

M. Night Shyamalan has taken a genre that has gotten old very, very quickly, and has given us a film that not only revitalizes the enjoyment of seeing a horror movie in the theater; it has definitely revitalized his career.

Of all the major horror franchises, The Texas Chain Saw Massacre has been pretty poorly served despite being eight films in, and still filmmakers and studios can not move away from trying to give a definitive background on main antagonist Leatherface, a fact given credence by the eponymous title which, in any other franchise, would be seen as being definitive but this being the schizophrenic series that it is, this is the second movie in it to bear this title, the other being 1990s Leatherface: The Texas Chainsaw Massacre III.

Given how many of Poe's «horror» mysteries have remained iconic staples of literary history, it's shocking how quickly the film glosses over the few kill sequences that are included in The Raven.

The early 2000s gave birth to the last few horror films to acutely capture the paranoia inherent to terror in remote locations.

Patricio Valladares» English - language remake of the Chilean horror film Hidden in the Woods has been giving us a lot of great things to look with a solid cast led by genre favorite Michael Bi...

Given that there are multiple scenes in which you could cut the tension with a knife, it actually might be best to think of the film as a thriller with horror elements rather than as pure horror.

The just - opened Aaron Sorkin - directed «Molly's Game,» and James Franco's «The Disaster Artist» were given six nods, while Jordan Peele's landmark horror film «Get Out» and Todd Hayne's «Wonderstruck» were nominated in five categories.

People were also upset that the horror / comedy wasn't nominated for Best Original Screenplay, especially given that Get Out is the highest grossing debut film based on an original screenplay in history.

Now, with their follow - up, Spring, the duo pull off the unthinkable once again in giving us a horror film for the new age, one that isn't satisfied with jarring jump scares or found - footage cliches.

That's partly because the film stars actual teenagers, most of them wearing fashions that probably came right off the rack at Kmart, and not only do they make Sleepaway Camp largely unique in the annals of summer - camp horror (which normally focuses exclusively on the older, more nubile camp counsellors), they give the proceedings an almost Lord of the Flies quality that sells the concept.

Maybe the big idea here is that nothing has changed in Australia in all the time since Power saw whatever horror film give him a yen to make this movie.

Guillermo del Toro's Crimson Peak is a rare breed of horror film coming our way later this year — rare in that it's a big budget Hollywood picture dripping with classical gothic horror, and to much surprise has been given the R - rated treatment with an A-list cast backing it all up.

(«Misery» aside, Hollywood hardly ever gives awards to actors in horror films.

Speaking as someone who usually finds films in the horror genre to be lacking most of the time, it managed to hold my interest to the end, and gave me a chuckle now and then, but the lack of a satisfying climax does diminish the impressive build up.

This is not simply a good horror film, the sort of backhanded compliment given by those who have no real interest in those sorts of films.

Given the currency of contained horror films and psychological thrillers — «low budget horror films set within a single location» appears on every «Screenwriters Wanted» list in Hollywood — it it's no surprise that the above breakdown sounds so familiar.

Anchored by a quartet of terrific performances and shot with a grainy, handheld style that give it a documentary feel, it's the latest in a niche of true crime horror titles that are more brutal and nightmare inducing than the latest monster of the week film.

Despite the fact that indie horror films like House of the Devil seem to be catching on in the VOD market, there's something depressing about genre fans in rural and suburban areas not being given the opportunity to see these quality horror films in their local theaters.

Now it's early in the year to talk the best horror film given Halloween hasn't arrived, but those on the horizon have their work cut out.

Blumhouse's Truth or Dare fell to the seventh spot in its third week of release, giving the horror film a domestic total of approximately $ 35.3 million.

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.