Sentences with phrase «in genre flicks»

Even his performance in genre flicks like «Planet of the Apes» and «Big Fat Liar» are to be applauded, though it has been these last three years that have been the most important.

Let's be clear, Cusack is the beating heart of this film and it's amazing what he does in a genre flick.

But, face it, in a genre flick from 1983, the lack of generic femme - focused titillation seems somehow pointed.

Not exact matches

Many in Hollywood say they see the spiritual - memoir - turned - movie as the next hot genre, suggesting there are ongoing talks about turning Lauren Winner's «Girl Meets God» into a romantic comedy, Ian Cron's «Jesus, My Father, the CIA, and Me» into an action flick, Anne Lamott's «Traveling Mercies» into an indie road trip film, Kathleen Norris» «The Cloister Walk» into something really creepy involving monks.»

The genre has seen a slew of solid flicks in the last few years — It Follows, The Babadook, and Coherence are some of my favorites out of the independent sector - and 2016 is no exception.

This movie, without giving any spoilers away, is exactly what we need in the superhero realm of genre flicks.

The tweaking of genres — the prison - escape flick in Chicken Run; monster horror in Were - Rabbit — in ways that made fun of cinematic tropes while also rapturous embracing them has elevated Park's work way above the standard notion of «it's a cartoon, it's just for kids.»

(There's a lot of meat to be mined in a clever dissection of the zombie genre, in other words, whereas most action flicks of this type are already self - parodying exercises in excessive hetero - affirmation amidst much piece - fondling and weeping.)

However, for all lovers of Bruce Lee, kung fu flicks, and revivalists of Seventies cool, it's a quintessential film, indispensable in its genre and firmly implanted forever in film history as the one that set the mold, even if future endeavors would top it in terms of breathtaking action, daring stunts, and more substantial stories.

While it is true that the unassailable main character who leaves a wake of bodies in their path isn't often a waiflike teen girl, and not all action flicks feature European scenery (a novelty for North American audiences), the gratuitous content is just like most other offerings in this genre.

One of the buzz titles on this year's festival circuit (at least in our genre circles) was Julia Ducournau's coming of age cannibal horror flick...

Today it's no big surprise when a respected actor slums it up for a paycheck in some disreputable genre flick but back then there must have been some kind of perverse kick to be had from seeing legends like Richard Burton or Gregory Peck fighting the forces of evil.

While Brancato, Ferris and McG can't capture the essence of what made its predecessors riveting entertainment, they have turned in a solid action / sci - fi piece that works better as a genre flick than it does in comparison to the more populist works that were the Cameron entries.

The latest in my series taking a look at under - appreciated genre films puts the spotlight on George Ratliff's evil - child flick Joshua,...

What made Spielberg such a force in the 1970s was the way he ruthlessly renovated cheap old genres (the chase flick, the creature feature, the alien - invasion thriller) without winking at them or at the audience.

Recent zombie flick «The Cured» proved there's undead life in a very well worn genre, and just like you think you've seen...

Blade, to the fresh eye, free of the fandom surrounding the character, comes across as the kind of film that is probably closer to a B Movie in the action genre than a superhero flick, as it is branded to be.

These little toys were more of a»90s favorite, but they began production in the late»80s; the Micro Machines catalogue includes play - sets for tons of flicks that fall under the «genre fiction» category, from Aliens to Indiana Jones to Men In Blacin the late»80s; the Micro Machines catalogue includes play - sets for tons of flicks that fall under the «genre fiction» category, from Aliens to Indiana Jones to Men In BlacIn Black.

Despite devoting roughly half its running time to Ian and Sofi's relationship, I Origins is ultimately not a romance, or at least, not only a romance: As the plot advances, Cahill's film reveals new incarnations of itself in a variety of genre trappings — sci - fi parable, grisly medical drama, globe - trotting thriller, and even, in one bizarre and possibly genius scene, a Saw-esque horror flick.

That it simultaneously spawned a genre of crap in a devolution chart from its already low bar to the bonding - over-cannibalism flick Fried Green Tomatoes to the bonding - over-coprophagia flick The Help functions as a cautionary tale about what happens when you, Titanic - like, find a new field to strip - mine.

In their previous screenplays, Wright and Pegg have very shrewdly thrown genre conventions on their collective ear; they clearly love horror movies and action flicks and buddy comedies, and they understand the structure of those films with such clarity that they can rewrite the rules, scramble up our expectations and wind up with a creation that's both an homage to and a subversion of past classics.

Whilst there seems to be an underlying strategy to ZombieSmash in deciding where and when to use your special weapons, particularly as some weapons combine to do additional damage, as a castle defense game that incessant flicking - like - a-madman gameplay is unescapable, and is ultimately what turns people away from the genre.

Dunaway and Wood's primary focus seems to be a brief commentary on all the manner of genres that Linklater has tackled: Sports flick, Bad News Bears; Period piece, Me and Orson Welles; Western, The Newton Boys and Sci - Fi, A Scanner Darkly all get a look in while highlighting his lack of pretension and his ability to dig deeper into more meaningful and intelligent projects.

Once the trailers started coming out, it was fairly clear this wasn't going to be a good movie in the sense of a The Departed or a Godfather, but an over-the-top fun genre flick, and that fits the post-Oscar-hopeful January moviegoing season perfectly.

Showing once and for all that Burt Reynolds (Smokey and the Bandit, Hooper) can act if he shaves off his moustache, The Longest Yard is a mixture of two genres, the sophomoric sports film and the sadistic prison flick, both of which were enjoying a heyday in the exploitative decade of the 1970s.

DVD Review by Kam Williams Headline: Robert Rodriguez Homage to Zombie Genre Released on DVD This Robert Rodriguez tour de force was originally released in theaters paired with Quentin Tarantino Death Proof as the better half of Grindhouse, a double feature of deliberately low - grade throwbacks designed as an homage to the B - flicks from the Fifties.

So it seems only fitting that director Gary Fleder and Sylvester Stallone set out to craft a clever and engaging action flick with a Western theme starring today's hottest star of the genre, Jason Statham, in «Homefront.»

Shutter Island, the director's first foray into a full - on horror flick, is an entertaining, stylish genre pastiche, soaked in classic B - movie elements.

The genre has struggled since the late 90s, when the duelling comet - meets - Earth flicks Deep Impact and Armageddon set new standards for CGI destruction, and in many ways 2012 feels like a throwback in a world that has already moved on...

Interestingly, Olivia Hussey's casting is a bit of an homage as well, as she appeared in what many consider to be the first of the slasher flick genre that Psycho inspired, Black Christmas.

That or you've just done a mountain of cocain; either way, this is the problem that Ryan Reynolds» Jerry Hickfang find himself in with Marjane Satrapi's genre - bending flick The Voices after he accidentally kills his girlfriend.

«The Strangers,» starring Scott Speedman, doesn't look much better, but after those «Underworld» films, he's probably just glad to be in something besides a werewolf flick... especially since that genre's getting ready to get a bad name via the oft - delayed «Skinwalkers» finally arriving in theaters.

It wants desperately to be a self - aware genre exercise in the Scream vein, but after its characters mention that there are «rules» to the buddy - cop flick, it chooses to demonstrate them rather than subvert them.

Kick Ass is a teen comedy, superhero satire and action flick in equal measure and it is sophisticated storytelling, genre - straddling humour and impressive characteristion that allows these three parts to fit so easily together.

As a childhood fan of watching Godzilla and Gamera flicks on Saturday afternoons, I went into Pacific Rim excited yet nervous that one of my favorite genres would be destroyed in the same way Roland Emmerich bastardized Godzilla with his 1998 remake.

Like many horror fans, Coy enjoys the «guilty pleasure» splatter flicks as much as the more prestigious titles in the genre.

I thought he'd spent himself on flotsam like the last two Spy Kids flicks, thought he'd really screwed the pooch on a fiasco like Once Upon a Time In Mexico, on which he mistook Sergio Leone's formalist genre Diaspora for a mess of ideas trailing camera flourishes.

What works best about Insidious, which is about as adoring a love letter to Tobe Hooper's Poltergeist as a good film can get, is how it takes horror flick concepts both old and relatively new and mixes them up, blender - style, and the result is a 95 - minute fun - time ass - kicker that has as much love for the genre as it does in making you pounce out of your seat.

Overall, a fine addition to the recent genre of socially - conscious sports flicks highlighting individual triumphs not merely in and of themselves, but for the collective meaning of those historic moments to the masses of black people ever in search of civil rights.

In sum, The Express amounts to a fine addition to the recent genre of socially - conscious sports flicks (ala Glory Road, The Great Debaters and Meet the Titans) which highlight individual triumphs not merely in and of themselves, but for the collective meaning of those historic moments to the masses of black people ever in search of civil rightIn sum, The Express amounts to a fine addition to the recent genre of socially - conscious sports flicks (ala Glory Road, The Great Debaters and Meet the Titans) which highlight individual triumphs not merely in and of themselves, but for the collective meaning of those historic moments to the masses of black people ever in search of civil rightin and of themselves, but for the collective meaning of those historic moments to the masses of black people ever in search of civil rightin search of civil rights.

This is insanely brilliant filmaking which stands out like an oasis in the desert of dry, sterile and mundane action flicks that constitute the genre these days.

And if you're in need of proof that the genre has been milked dry, may I suggest this derivative flick which is reminiscent of all of the above.

In a year where «Creed» has been such a champ, «Southpaw» has been rather forgotten, and probably correctly so: Though it has some very good performances, particularly the lead turn from a still - on - form Jake Gyllenhaal, it's also a rote and unimaginative boxing flick that hits most of the clichés of the genre throughout.

Filmmaker Gareth Evans restored the action / martial arts genre to glory after Hollywood transformed action flicks into a toothless tiger (I still blame The Fast and the Furious franchise and the steady decline of Detective John McClane in cinema).

It's no fun to rip a genre flick by Canadian maverick Bruce McDonald, who makes movies with real zeal and, as recently as 2008, riffed smartly on horror movie tropes in his quasi-zombie drama Pontypool.

With its sparse dialogue and strikingly beautiful, color - saturated imagery — almost all of it framed in boxy, anachronistic Academy ratio — the movie doesn't really look or sound like any martial arts flick ever made, offering an original and idiosyncratic take on one of film history's most durable genres.

That philosophy came in handy once more when he decided to revive a long - dormant movie genre — the screwball romantic comedy — back when action flicks like «Lethal Weapon» and «Die Hard» were the rage, with 1990's «Pretty Woman,» an unlikely Disney fairy tale about a beautiful streetwalker who falls for her rich prince of a business - exec client that turned Julia Robert into a superstar.

An American Werewolf in London is one of those flicks oft - referenced by filmmakers when describing a perfect marriage of genres (and a classic soundtrack).

Gillespie and Kostanski know their way around satirical genre material (check out Manborg, Father's Day, and The Editor) but this flick earns unexpected points for (mostly) eschewing the humor in favor of suspense, tension, dread, carnage, monsters, tentacles, and more carnage.

The PG - 13 horror movie hasn't had a hit in a long while and with the MPAA stamping The Conjuring with a R - rating simply because it was deemed «too scary», these all audience entries into the horror genre such as The Lazarus Effect and last year's much worse Ouija make me question whether it's even truly possible to have an effective PG - 13 horror flick.