It's one of the most iconic props
in modern horror movie history, but what was it, anyway, and where is it now?
Though the «sex equals death» rule isn't as prominent
in modern horror movies that defy those decades - old tropes, «It Follows» is very much a retro homage to «70s and «80s genre classics, from the «Halloween» - esque synth score, to the striking similarities to «Nightmare on Elm Street,» both in Jay's perpetual helplessness and the film's dreamlike atmosphere.
Not exact matches
The first of these
movies remains one of the great sci - fi
horror achievements of the
modern cinema, but its sequel, «Aliens,» is that rare instance where a follow - up deviates from the formula and finds an effective rhythm
in propelling the story
There's style
in it, and that great silence concept — which reminds me of how light was treated
in The Others, one of the best
modern horror movies.
Aquaman will also feature a strikingly different world from that of other superhero films - something that also extends to other upcoming superhero
movies, such as Marvel Studios» Doctor Strange (which dabbles
in supernatural
horror) or even 20th Century Fox's Wolverine 3 (an R - Rated film with a
modern - western vibe).
Traumatic backstories are one of
modern horror's most durable tropes, but Flanagan's strong interest
in his characters has always put his
movies a cut above the rest.
In «
Horror 101: The Exclusive Seminar» (10:27), director James Wan and writer Leigh Whannell separately discuss their philosophies for the film, putting new spins on the haunted house and possession genres and doing certain things differently from other
modern movies.
Shot on 35 mm and
in technicolor, a pastiche of «60s Russ - Meyer-esque B
horror movies, it challenges
modern conceptions of gender roles.
Anyone with a passing familiarity with
modern Austrian cinema outside of Michael Haneke «s work will not be surprised that arthouse
horror «Goodnight Mommy» is produced by Ulrich Seidl, whose own «Paradise» trilogy, as well as 2015's terrific, underseen semi-doc «
In The Basement,» share a certain chilly formalist distance with Fiala and Franz»
movie.
Written by Max Landis (Chronicle, American Ultra), Victor Frankenstein isn't so much a re-imagining of Mary Shelley's iconic 1818 sci - fi /
horror novel, «Frankenstein; or, The
Modern Prometheus»; rather, it's an origin story for the eponymous character, as seen from the perspective of Igor (who didn't originate
in Shelley's source book, but rather
in a subsequent
movie adaptation).
Patrick Hughes previously made the well - regarded
horror thriller Red Hill, which I haven't seen yet, but between those positive notices and the notion that he would be helming the remake of one of the best action
movies in years, I was intensely curious to see what he would make of the third installment
in this
modern series that is dominated by lead actor, co-writer, and director Sylvester Stallone.
The ensemble provides an all - important ingredient missing from both the tedious Twilight adaptations and
modern horror movies in general: fun.
He is best known for his work
in the
horror film genre, particularly
in the subgenre known as giallo, and for his influence on
modern horror movies.
Perhaps it's because, bucking the trend for
horror movies, Primeval comes to DVD
in its theatrical cut rather than a unrated extended presentation or perhaps it's because I reviewed Apocalypto last week, but this film didn't seem overly gory the way many of its
modern kin do.
The episodes are slick, well - produced and continually disturbing
in the way that most
modern - day
horror movies can only dream of being.
The
movie is still riveting and suspenseful after multiple viewings, maybe because it's anchored
in reality and so beautifully simple — the
horror is played out within the realities of a
modern marriage
in late -»60s Manhattan and the «God is dead» movement.
The interior - design
horror movie represented by this car was the result of a few injudicious choices
in the
Modern line, such as the Fineline Pure trim pieces.