Sentences with phrase «horror characters as»

Not exact matches

Groups of young friends who go to see some of the more death - focused horror films in vogue of late will routinely take bets on which stock character will face a grisly end soonest, as when viewing the Final Destination series» a film series that is, essentially, the apex of the set - piece disaster horror movie as orchestrated by MacGyver.

Yet conjointly with this terror, the present as mere unrelieved preservation of the past assumes the character of a horror of the past, rejection of it, revolt:

Steph Curry is apparently a big fan of Halloween, so much so, that he participated in his own dress - up - as - your - favorite - horror - character to work day.

«Kids» cartoon characters twice as likely to die as counterparts in films for adults: Content on a par with «rampant horrors» of popular films.»

This character is a wonderful horror movie hereon, but her character lacks depth so I was tormented as to how to revitalize my Bride of Frankenstein for my Halloween makeup tutorial.

While it underperformed at the box office it has gained a cult status in the likes of Rocky Horror Picture Show with midnight screenings throughout the year and country and people dressing up as characters from the musical.

Its stylish directing, vicious violence and effects, and focus on the character and choice as the basis of horror have been done time and time again, and never to the level that

Unlike such horror icons of the past as Boris Karloff and Vincent Price, however, Englund was not able to shed his famous character's image when he wanted to move on to other roles.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

An asset as a thesp for two decades now, from youthful leads («The Faculty,» «The Slaughter Rule») to more recent character roles on big screen («Argo») and small («Heroes,» «American Horror Story»), DuVall demonstrates a deft hand guiding her cast here.

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

The Marine campaign for me is the most intense survival horror game yet (mainly because the Xenomorph is such a memorable character)- in terms of providing dread and checking every corner as you make your way slowly in the dark, it is unsurpassed (Dead Space is a very close 2nd).

Driftwood is presented and promoted as a horror movie with psychological elements, and while this is true, it undersells what is an effective psycho thriller, less about gore and horror, more about story and character.

Though often consigned by Hollywood's typecasting system to workaday villain roles, Kenneth Tobey has not be forgotten by filmmakers who grew up watching his horror - flick endeavors of the 1950s; he has been afforded key cameo roles in such latter - day shockers as Strange Invaders (1983) and Gremlins 2: The New Batch, and in 1985 he reprised his Thing From Another World character in The Attack of the B - Movie Monsters.

While it's always going to be less frustrating when characters in horror movies behave like intelligent, attack mode - ready superhumans and can turn the tables on their terrorizers, Kinsey and her family all react as realistically as one would and with believable fallibility when thrown into a horrific situation they weren't ready for, and it's worthy of applause when some of them find it in themselves to fight back.

The concept of manipulated characters in a forbidding, controlled space is as old as the earliest horror movies, but rarely has that space been as fascinating to look at as it is here.

Sean Harris is known for creating intense, offbeat characters in an eclectic range of films, such as Rowan Joffre's BRIGHTON ROCK, HARRY BROWN, THE RED RIDING trilogy, 24 HOUR PARTY PEOPLE, and the 2005, award - winning horror thriller ISOLATION, OUTLAW AND CREEP.

The series served as a more serious version of The League of Extraordinary Gentlemen that saw literatures famous horror characters brought to life through Logan's eyes.

Daniel Kaluuya is exceptional and plays the character perfectl as his character is transported to a place of horror.

The high school horror - comedy with a decidedly feminist bite stars Megan Fox as the traffic - stopping title character and Amanda Seyfried as her BFF, Needy.

Constanzo also employs other horror tactics, most obviously the hovering camera — using a fish eye lens high above the characters to simultaneously make Mina look even more waif - like and also act as an evil eye of sorts looking down at the increasingly complicated scenario playing out.

Content to merely spend time with its characters as they chat, bicker and strategize, the film comes off as a lackadaisical throwback oater until it reaches its climax, at which point Bone Tomahawk veers suddenly, shockingly into outright horror, replete with what may be the most chilling, unforgettable death scene of the year.

The popular horror - themed video game Dead by Daylight — in which both Michael Myers and Laurie Strode from Halloween were introduced as playable characters in the online version last fall — has recently come home to gaming consoles earlier this year, and now «The Halloween Chapter» DLC is bringing Myers home this Friday.

Naomi Watts — so wonderful in better horror fare like The Ring or thrillers like Mulholland Drive and Funny Games — does the best she can here with a comparatively inferior character, but Charlie Heaton, who broke out as the protective and lovelorn older brother in last summer's Stranger Things, and Jacob Tremblay, Oscar - nominated for his role in 2015's Room, are stymied in roles that require too little in the way of nuance or are lacking in enough screen time to show real depth.

As it approaches its great and terrible climax, every fear the film has suggested digging to the surface and clawing out to confront its characters, «Hereditary» takes on a power and resonance that it's hard to imagine any other horror movie this year matching.

If you like good horror movies that value performances and mood and character as much as they value scares, you should go out of your way to see it.

Through the years I developed love for survival horror and RPGs with Silent Hill, Resident Evil / Biohazard and Final Fantasy as my favorites for their intricate plot lines and interesting characters.

The series weaves together these classic horror origin stories as the characters grapple with their monstrous alienation.

Moreover, it lacks the shattering claustrophobia of my favorite modern horror film, The Descent (2005), a film that was as meticulous when it came to the construction of scares as it was when it came to fully realizing its characters.

The actress also noted that it was important for her to meet with the director so that they can talk about her execution of Michelle, as she feels how a female character is presented in a horror film is important.

Nina Forever is more about the characters than the horror, but its unsettling atmosphere works just as well as any scares.

This alarming horror film, a brilliant debut for Australian director Jennifer Kent, is as hard to shake as its title character whether you take it as a straightforward monster film, a mental illness or grief allegory, or get hung up on its minefield of taboos (mothers who don't much like their children / over-medication of children / weapons in schools).

The joy of What We Do in the Shadows is that it's not so much mocking horror films so much as it is using characters whose traits are relatively well - known throughout all forms of media for centuries.

is based on a character created back in the early 1970s, starting off as a supporting character in the Marvel Comics horror title, «Tomb of Dracula»

«The Grudge» suffers from a lack of character development and several minor gaffes in its own internal logic, as well as the kind of often nonsensical horror - movie plot calculation that leaves shamelessly obvious openings for endless sequels.

At Indiewire, Jamie Righetti explored the film's use of horror tropes regarding Foy's character, adding, «As a Final Girl for the #MeToo era, her conundrum gives «Unsane» a progressive edge, shedding some much - needed light on a struggle women have silently endured for far too long.»

However, for the time being, casting news is only as good as speculation, but that hasn't prevented the internet from fan - casting the character — and Finn Wittrock (American Horror Storysc, Unbroken) is in the top tier of favorites.

He doesn't rely on an intrusive music score or shock tactics (as you'd maybe expect from a director who cut his teeth on a low - budget horror movie) but wisely pairs events down and allows the tension and suspense to build assuredly around natural characters, performances and events.

In many cases comic personal accounts of Ndalianis» experience of the horror sensorium compete for space: analysis of de Certeau's Practice of Everyday Life is combined with description of its manifestation in the practice of consuming contemporary media culture (her childlike joy at controlling Batman who she describes as «the greatest fictional character ever invented»).

The 1954 monster - horror Creature from the Black Lagoon was a huge influence: in that film, an aquatic monster known as Gill - Man becomes fascinated with a female character called Kay, who's part of a scientific expedition whose aim it is to capture or kill the monster and study its breathing.

The result is a horror movie without horror and an adolescent bully comeuppance intrigue (see it best in Carrie) that has as its centre a character so Crispin Glover (so «one big cockroach right on his anus» Jingle Dell Crispin Glover) that it defeats sympathy and sense.

The sound editing, as is usually the case with Darren Aronofsky's films, is top - notch, as you can sometimes distinctly make out the differing sounds that characters of differing size make as they tread on some of the old wooden floors — the sorts of seemingly incidental details that can make a world of difference to a horror film's overall effectiveness.

Then, as chaos and horror reign, some characters begin thinking in terms of proactive, reasonable responses, while others begin to think in terms of self - defense and stockpiling.

While it is true that the characters of Miyazaki's film are all detached from the horrors of war that surround them, this is as far from a morally irresponsible film as you can get.

This starts out as your typical small town murder mystery involving various shady characters, but then turns into some crazy alien horror half - way through (the trailer) with some freaky shots.

Writer / director Daniel Stamm's A Necessary Death takes the character - as - cameraman approach of Cloverfield and Diary of the Dead and applies it to a more intimate horror story — the story of a suicide.

«Charles Lee Ray (also known as «The Lakeshore Strangler», and nicknamed «Chucky») is a character and the titular antagonist of the Child's Play horror film series.

Tucker and Dale Vs. Evil (dir: Eli Craig, U.S.) is not so much a horror comedy as a comedy where most of the characters are convinced they're in a horror film and act accordingly.

Those famous characters are a big part of movie culture and have helped shape horror as we see it today.

He introduces characters and situations rife with horror possibilities, but equally plausible as images of safety: priests in a boarding school, cars on an icy road, James Remar in a motel room.