This is also down to a strong set of performers and while it's rare to see an all - female ensemble
in a film of this ilk, Garland has little time for gender, imagining a future where such distinctions don't warrant recognition.
Not exact matches
While I can certainly agree with both
films not falling squarely
in line with the zombies, slashers, and extreme gore features that proudly wave their horror flags, Get Out and The Shape
of Water do exist
in the peripherals
of genre, both featuring monsters
of very different
ilk.
As
in so many
films of its
ilk, we observe as the improbable wads
of cash are amassed and then, at the point where things just get a little too loco, everything goes to shit.
In order for more actors of color to be nominated they need to be featured in more films overall of this il
In order for more actors
of color to be nominated they need to be featured
in more films overall of this il
in more
films overall
of this
ilk.
Kosinski's leisurely pacing, often setting up a hangout environment similar to those
in the more laidback work
of Hawks and Richard Linklater, gives Only the Brave a raw authenticity that's often overshadowed by melodramatic flourishes or superhuman heroics
in other
films of its
ilk.
Along with its Rambo pedigree, Homefront definitely feels like a
film that would have been par for the course as a release
in the 1980s, when Stallone himself, along with Arnie, Chuck Norris, Van Damme, and the rest
of the Expendables
ilk, would all make
films with this very basic formula.
Not that the
film doesn't revel
in cheesiness, but compared to other
films of its
ilk, it manages to at least avoid drowning
in the cheese.
Although we've seen many
films of similar
ilk in science fiction, from Sphere to Event Horizon, the writers are well aware
of audience expectations, putting enough fog and mirrors
in the mix so that we are never exactly sure.
Good performances by the main actors does make it a cut above most horror
films if its
ilk (though Joe Anderson's German accent is far from authentic), and there is a very effective creep factor involved
in the choice
of antagonist, a wildly growing, mimicking plant that can grab, infest and devour its victims
in the most grisly and stomach churning ways possible.
But much like Babe or even the Shiloh
films, a decently made
film of this
ilk will surprise grown - ups
in how successfully they can transfix their target audience.
Most
films of its
ilk would establish the third wheel character
of the current husband as a lout deserving
of a break - up, and while Ira is certainly a cad, Simon wisely never paints the character
in a negative light, creating some interesting conflicts
in the dynamic
of the newly reunited partners
in crime.
Originally titled Townies, this is a
film where all
of the themes are
in some way, shape or form recycled from comedies
of an Apatow
ilk.
It's similar to a lot
of other
films of different
ilk, and many may find some striking similarities with Point Break
in particular, and that's dipping pretty deep
in the bad action movie barrel for inspiration.
Say what you will the R - rated superhero flick — like for instance that it falls
in line with many
of the same familiar tropes it purports to mock — but the gleefully violent and «adult» - oriented box office smash opened the flood gates for more
of its R - rated
ilk, showing studios through the ever influential power
of green (not Green Lantern mind you), that audiences were more than receptive to «mature» content
in their superhero
films.
It's also a derivative one, adding nothing to the «madness»
ilk of genre
films that we have haven't seen done better
in movies like Repulsion, The Shining and Black Swan.
Standing
in the shadows
of other supernatural horror
films of this
ilk, «Winchester» is a creaky misfire with little going for it beyond window dressing.
The subject matter is darker than other similar
films of its
ilk, dealing with gang rapes, strangulation and kinky sexual acts that seem placed
in the
film in ways that titillate rather than educate.
Where this
film lacks
in comparison to his other earlier
films of a similar
ilk is it is missing that gut punch moment, that moment that forces you to make a judgment on the character (a really good example
of this is Jason Patric «s nausea - inducing takedown
of Catherine Keener «s character
in Your Friends and Neighbors).
There is the element
of power and control which appears
in other fantasy
films of this
ilk, but also a question
of the ethics
of its use.
I do think kids will enjoy this, and parents will probably be more engaged with the
film than some
of the other recent releases
of a similar
ilk in the past year, but this is not a knockout by any means, not even close.