Sentences with phrase «horror film history»

Featured most prominently is the score, which is one of the more memorable scores in horror film history.

Evil Dead remains one of the most - loved franchises in horror film history.

Not exact matches

I love good music & enjoy going to see live bands & going to festivals I also enjoy art & urban exploring just to learn the history of a place but that comes about from watching to meany booth brothers documentaries of the unknown I also enjoy horror films And Dumfries is in Scotland

One of the few last successful horror franchises in modern history would have to be the Paranormal Activity flicks where it goes to show, that a film that makes noises in another room can scare the living hell out of millions of people.

HORROR REDISCOVERED By Maitland McDonagh Film preservation has taken tremendous steps to protect the masterpieces of film history.

With its cleaver - wielding dwarf and a sex scene that raised questions over whether it was real, Nicolas Roeg's atmospheric horror film Don't Look Now earned its place in cinematic history.

M. Night created one of the best horror films in the history of cinema in 1999 with The Sixth Sense but he also created The Happening.

March 1, 2013 will mark a great day in horror history with Park Chan - wook's (Oldboy, Thirst) english - language film debut about the nasty Stoker family.

V / H / S is too smart to be anything more than a footnote to the found - footage horror film's still - unfolding history.

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.

John Carpenter created one of the best horror films in history in 1978 and it has been used as the basis and inspiration for many projects.

The master of the specific subgenre called body horror and the man who put out such classics as Dead Ringers and Videodrome, the Canadian filmmaker David Cronenberg seemingly stepped out of his (dis) comfort zone and delivered one of the best movies of the first decade of this century when he made the film cleverly and multilayeredly called A History of Violence.

This year has all around been an INCREDIBLE year for the horror genre, with films such as Split, Get Out and IT making it one of the best (and most profitable) years in the genre's entire history.

Introducing the film, this special bonus explores the history of the film and the indelible influence Halloween has had on not only the horror genre, but the entire film industry.

Horror films occupy a long and enthralling place in cinematic history, and Diego Carrera has put together an excellent video showcasing the films that have scared us for over 120 years.

Kramer's screenplay reveals facets of a genuinely important personal experience with real horror, and Murphy's film captures a suffocating dread at the sudden merging of sex and death at a cruel moment in history — complete with a climactic romantic gesture that finally, heartbreakingly, insists love matters most.

Not only does it star one of the most twisted serial killers in cinematic history, Mike Myers, it also happens to be directed by John Carpenter, one of the legends of horror films back in the 70s.

With an iconic score by legendary composer Bernard Herrmann, this film cemented Alfred Hitchcock's place in history as a Master of Horror.

With an initial trailer that made it look like nothing but a generic horror film (until a second trailer spoiled a little too much), this film just seemed like another tired entry in the long history of films about promiscuous and dimwitted teens just waiting to meet their gruesome end.

Granted, it's a bit too long and deeply convoluted, but the 2006 film is also one of the most nightmarish and gorgeously shot horror films in recent history.

In it, the cast and crew talk about the movie as if it's a great revolution in the history of horror films, which isn't even a little true.

Starring Hemlock Grove's Kaniehtiio Horn — a First Nations Mohawk who grew up on the Kahnawake Reserve — as a Mohawk woman driven to violence by soldiers» assault on her family and her ancestral home in early 19th - century New York, the film engages with the horrors of American history in an uncommonly blunt way, using them to tell a tale of supernaturally tinged revenge.

This short documentary, taken from the Eurotika series on Channel 4, is a lovingly crafted — albeit brief — history of the Italian horror film.

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.

But perhaps most remarkable was the fact that it nabbed a Best Picture slot: Depending on how flexible you are in defining «horror,» Get Out is just the fifth (or sixth) fright film in the ceremony's history to ever receive that honor.

The critical paths into The Hitcher that this book explores are rich and plentiful, and through an exploration of its origins and production history, a close analysis of the film itself and a consideration of the immediate fallout following its release and its longer legacies, this book celebrates one of the greatest highway horror movies ever made.»

Layers of real life and movie history combine cleverly in this postmodern horror film, which just might be too knowing for its own good.

Blu - ray extras include four separate audio commentaries, with participants including the late O'Bannon, Matthews and author Gary Smart (The Complete History of The Return of the Living Dead); a making - of documentary; the final interview with O'Bannon; pieces on the film's effects and music; and a featurette on»80s horror films.

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.

This touching tale that riffs on classic horror history is easily Tim Burton's best film in over a decade, and Martin Landau's science monologues as Mr. Rzykruski made me want to stand up and cheer.

This unnerving compendium has made the transition from a successful international stage show (whose fanbase includes the director John Landis) to the big screen and draws inspiration from a rich history of horror, recalling the chilling and nightmarish quality of films including the Amicus anthologies and 1945 portmanteau, Dead of Night.

January's horror film The Forest was only the latest example of Hollywood's long history of mediating Asian stories and characters through a white lens (a trend that certainly extends to other people of color).

«THE S FROM HELL is a short documentary - cum - horror film about the scariest corporate symbol in history — The 1964 Screen Gems logo, aka «The S From Hell.»

With its stunning visual style, sly subversion science - fiction and horror genre conventions and one of the most terrifying and memorable monsters in screen history, «Alien» became an instant film classic from the moment it burst forth — literally — in the summer of 1979.

Horror fans from all over the world have rallied to support the Gothic chiller, earning the film a place in Kickstarter history as the UK's most funded narrative film ever.

For anyone who cares to pay attention, the horrors of this film are intrinsically tied to America's embarrassing history with race, and these issues do not end when the film ends.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

By most definitions, Jaws is more a suspense thriller than a horror film, but it gave us one of the most heart - stopping, breath - holding, unnerving musical ideas in the history of cinema.

I had a lot of faith in Wan's abilities, but history says that two successful films in one year are very unlikely, especially if both of the movies are from the horror genre.

Earlier this month, the actress made her feature - film debut in Get Out, Jordan Peele's horror film which has earned critical acclaim, made box - office history, and inspired moviegoers to return to theaters for second and third viewings.

2014 was a banner year for female - driven horror, and arguably the first time in history when the year's best horror film was directed by a woman.

Whether it's the folk horror of The Trial of Elizabeth Gadge with its talk of witchery, imps and familiars, the giallo-esque Private View or the chilling psychological drama of episodes such as Tom & Gerri and The Understudy, Shearsmith and Pemberton clearly draw upon an innate and encyclopedic knowledge of genre film and television history.

Another interesting part of Toms River history not to be forgotten is the filming of Amityville Horror.

We looked at the musical journey of the game as kind of a «history of horror film», from orchestral, through the 1980s synth scores, and on to a more processed, artificial modern sound.

The Los Angeles - based artist Matt Greene is becoming known for his ethereal landscapes of fleshy fungi and bushy bombshells, paintings that explore his favorite shelves in the library: vintage pornography, fairy tales, horticulture, horror films, nineteenth - century Symbolist art, and, of course, the history of Modernism.

Smithson fed on the clashes of style, form and meaning found along his rambles through the city; from the downtown kiosks hawking porno magazines and comic books, to the movie houses of Forty - Second Street with their «low budget mysticism of horror films,» to the mineral displays at the Museum of Natural History, and across town to the Met's Byzantine paintings and the «cold glass boxes» along Park Avenue.

Another interesting part of Toms River history not to be forgotten is the filming of Amityville Horror.