Sentences with phrase «horror film characters»

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.

He saw the horror - film character Freddy Krueger looking back at him from mirrors.

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

When the main characters of a Kevin Smith (aka Silent Bob) horror - comedy film are yogis.

The idea is to make you feel like a character trapped in a horror film.

Let's compare dating mistakes to the mistakes characters make in horror films.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

Screenwriters Joss Whedon and Drew Goddard take the quintessential horror film ensemble of characters, and ridiculous scenarios and then inject a dose logical rationale, keeping it thoroughly entertaining.

Characters act in ways that defy motivation or logic, lacking credulity way beyond the usual horror film tropes.

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.

When I first saw the trailer for this movie I thought it was good to be another awful horror film, but the twist led by the characters played by Bradley Whitford and Richard Jenkins makes this one of the most inventive horror films I've seen in a while.

Played ominous from the outset there are some scares here, although with a nearly equal amount of «the dumb characters doing dumb things» schtick that plagues horror films like the Ebola virus gone rabid.

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.

Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don't understand.

We get - treated to some great film - noir moments thanks to Barker's genius - take on the P.I. character, and it blends with horror effectively.

The film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores among four main characters costs him something in the intensity of audience identification.

Director Johannes Roberts begins the film with a synth - infused version of Kim Wilde's «Kids in America» and retro title styling, letting the audience know what decade of horror we're in for, even if the characters are blissfully unaware of what's coming.

But without the (old) Disney genius for emotional structure and character design, the results are rather flat — the film concentrates on Disney horror and trauma without the relief of Disney charm.

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.

By the time one character reveals in a decrepit motel room that he is, in fact, «a child from the order» (or something), Revelation has completed its transformation from horror film to outright soap opera.

Dramatic irony, showing the audience the killer before the character sees him, is a technique many older horror films used to create fear and suspense.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

if I was Canadian, and interested in horror films, I might defend the film — its definitely creepy, but also you have a film here where the protagonist has zero character definition and much of the very deliberate color grading and lighting makes the film look like it has gaping continuity errors.

The film is rooted in Hollywood classicism, populated with idiosyncratic characters who have plenty of room to speak and interact in between the action / horror set pieces.

Survival is the implicit goal of characters in horror films, but a certain subset of these films are able to turn the act of survival into an existential quest, a powerful statement of defiance against the vagaries of the unknown.

Which other Marvel character would openly (and happily) talk about the 2009 Dutch horror film «The Human Centipede» mid-conversation?

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.

Whenever characters in a horror film venture into the woods, bad stuff happens.

There are many reasons why The Thing is considered a top - tier horror movie, but the fact that any one of the stellar character actors featured in the film could actually be the titular shape - shifting alien creature is definitely one of them.

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.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

The success of Anarchy depends on the realism factor; if audiences can not empathize with the characters on screen, the film loses the critical realistic element that makes a horror film worth watching.

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.

This was one of the only horror films I genuinely cared about the characters, the more you care the scarier and more emotional it becomes.

The movie, which will be released in theaters tomorrow, also gripping leaves audiences questioning who it strong - willed characters are, and how their circumstances connect with the hit monster horror film, «Cloverfield.»

Fragoso: Mud, in contrast to a film like Take Shelter — which sort of revels in the psychological horrors of Michael Shannon's character — is a bit of a lighter film.

Mindadze's awful film follows a series of characters so completely and utterly stupid that I wanted to yell at the screen like a horror movie.

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.

The characters from the upcoming horror film, «Paranormal Activity: The Marked Ones,» are warning audiences not to go in the basement.

It's a pretty easy film to figure out, too, with the most horror movie characters ever.

For a horror film, this is unusually subtle and disturbing, rather than all - out scary, quietly profiling a creepy central character in ways that are designed to provoke the audience.

The characters from the upcoming horror film, «Paranormal Activity: The Marked Ones,» are warning audiences not...

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.»

It's the little touches that culminate to create an atmosphere of horror, and a prime example in this film is the subtle, yet almost constant, rumbling noise in the distance, under the character's dialogue.

Like many horror sequels attempt and fail to accomplish, The Conjuring 2 takes careful stock of the characters it introduced in the first film, in this case within a nightmarish prelude, building on existing relationship with modest drama and vivid consternation.

I loved the 80s horror references, how self - aware the story and characters were, and most importantly, the fact that the film never tried to be something it wasn't.

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 character is getting his own standalone film later this year, and it is helmed by James Wan who is otherwise known for his horror films like The Conjuring franchise.