Sentences with phrase «horror cinema»

1978 is undoubtedly one of the most important years in all of horror cinema history.

As we close out another year, let's take some time to look back over the past 12 months in horror cinema.

2016 has been a banner year for awful things happening to the world in general, so maybe it's appropriate that it's been a banner year for horror cinema.

The 1970s was a period of transition for American horror cinema.

Whether it is a new twist on an old theme, or a completely new monster, any touch of a fresh perspective is a welcome addition to contemporary horror cinema.

I thoroughly enjoyed this film and it's a fine piece of low - budget horror cinema that is guaranteed to be a memorable viewing experience.

Given the immense success of horror cinema last year, it's no surprise that more directors are jumping onboard.

Whether by accident or design, horror cinema represented everything we dread in 2016.

Looking back at the past twelve months, it's astonishing just how good horror cinema has been.

I felt that the tropes of horror cinema helped to convey that.

It's an overwhelming rush of pure, insanely violent, visceral horror cinema executed with impeccable style.

Do not under estimate the power of indie horror cinema.

However, in the world of horror cinema, it's just too derivative and not deep enough to be considered special.

A lot of fans look back on the 70s and 80s as a golden age for horror cinema.

The Long Hair of Death (1964) is one of the latter, a moody Gothic horror from genre stalwart Antonio Margheriti (whose name was immortalized by Quentin Tarantino in Inglorious Basterds) starring Barbara Steele, the British actress who became the most striking and mesmerizing star of Italian horror cinema in the sixties.

In addition to her literary career (which includes columns at Fangoria and a book on modern horror cinema called It Lives Again!)

I say that as someone who's not an expert on horror cinema, and also as someone who mostly detests jumpscares.

Alice, Sweet Alice is an underrated gem of old school horror cinema.

The Descent Year: 2005 Director: Neil Marshall True camaraderie or complex relationships between female characters isn't so much «rare» in horror cinema as it is functionally nonexistent, which is one of the things that still makes The Descent, nominally about a bunch of women fighting monsters in a cave, stand out so sharply all these years later.

Eight years ago, KM 31: Kilometer 31 unexpectedly became a landmark for Mexican horror cinema.

The decade may not have dozens upon dozens of creepers, but the four or five greatest horror movies produced during this span ended up inspiring the next 40 years of horror cinema at least.

The Reflecting Skin (1990) It isn't often when documenting horror cinema that you have the need to mention an art... read more →

Before horror cinema became obsessed with low - budget, haunted house, night - vision camcorder borefests and the gorno genre fetishised the violence with series like Paranormal Activity or Saw respectively, horror films were generally based around hapless teens fleeing supernatural forces or maniacs with machetes.

Italian director Mario Bava paved the way for decades of Italian horror cinema with the sinister black - and - white witch's tale Black Sunday (1960).

Frankenstein and its superior sequel, The Bride of Frankenstein, showed a capacity for patience, mood and tragedy that eludes most horror cinema to this day.

The 1958 original holds a firm place in horror cinema history, but for my money very few «studio» horror films come close to the deeply upsetting brilliance of David Cronenberg's 1986 remake.

No, I really wasn't familiar with genre film or horror cinema because I ha..., well, it's maybe not that I hate it, but I can't easily watch it because I scare so easily.

Along with topics like boobs and gore and clever one - liners, horror cinema also probes other subjects with the same aplomb.

In his best films Argento delivered murder as spectacle with razor - sharp execution and turned horror cinema into a dream - like spectacle with a dash of sexual perversity.

Fans of well - acted period dramas and good gothic mysteries should consider tuning in but the film will be of particular interest to anyone curious about the origins of modern British horror cinema.

We're often compared to Funny Games, which for us is a film actually against horror cinema — and we love horror films.

Wan's film wasn't just scary, it was terrifying, and his stylistic choices truly made the film feel like it was cut straight from the 1970's horror cinema scene.

A.D. Calvo's new film, Sweet, Sweet Lonely Girl, takes its cues from»70s slow - burn horror cinema, emphasizing melancholy atmosphere over shocks and scares.

He explored adventure and horror cinema early in his career and created the popular Indiana Jones franchise and the film Poltergeist with George Lucas.

For many of us it's a case of escapism, but for others horror cinema can be at once scary and soothing.

Some of the greatest horror cinema of all time has been built on a foundation of distrust.

The suggestions of sex and nudity, daring for the time, are tame next to the exhibitionism of horror cinema since the»70s.

It's hugely entertaining to see just how far Evil Dead pushes the envelope, and watching the surprising ways in which you and the people around you react is what horror cinema is all about.

A terrifying atmosphere coupled with a frightening and original choice of monster; make It Follows one of the best horror experiences of the decade so far and further proof that the future of horror cinema rests not in the machinery of the big Hollywood studio, but in the world independent cinema.

How horror cinema responds to the Trump presidency through the types of film produced, for example, will be very interesting.

If you're looking for a «cabin in the woods» movie that's a love letter to horror cinema while not playing out like your typical «cabin in the woods» fare then see «Dead Snow».

Nyman and Dyson's Ghost Stories has been running as a theatre production for over 10 years, and part of the original idea for the play was to transpose some of the techniques of horror cinema onto the stage, thus reinvigorating them.

Anyone who covers (or at least obsesses over) the current landscape of international horror cinema should be pleased to notice when a specific country speaks up and bangs out a fresh handful of genre films.

Dir George A Romero (Duane Jones, Judith O'Dea, Marilyn Eastman) Modern horror cinema started here.

A low budget gem to sit alongside The Babadook in recent standout horror cinema.