Sentences with phrase «into grand guignol»

«A tense, absorbing pursuit Western that turns into a Grand Guignol gorefest, Bone Tomahawk is what you might get if you crossbred The Searchers with The Texas Chain Saw Massacre, or maybe Cannibal Holocaust... There's an elegance to Bone Tomahawk that doesn't let up even when it veers into cult - movie territory.»

Adapted from the autobiography of escapee Robert E. Burns, it skates about some specifics, never naming the state which claps the hero into grand guignol prison camps (the book was called I Am a Fugitive From a Georgia Chain Gang) but is eye - openingly frank for a film of its vintage.

Notwithstanding this descent into Grand Guignol — which to me felt less confrontational than just over-stressed — Goodnight Mommy is a genuinely strange and unsettling film.

Long stretches in fact threaten to turn The Prestige into a Grand Guignol melodrama not unlike David Cronenberg's extraordinary version of The Fly.

When this movie violates its own case and crosses into the Grand Guignol - for example, the close - ups of the skin flying off a woman's back as she's whipped - the excess feels much more egregious than if a bad movie did the same.

Not exact matches

[Robbie] transforms what could easily have been just another grotesquerie in a grand guignol into a fully rounded, albeit unsympathetic, character.

Here's a Halloween pick for you: a macabre musical about a sociopathic barber (Johnny Depp) with flashing razors and a demented cook (Helena Bonham Carter) who hides the evidence of his murders into meat pies, directed by Tim Burton, the dark fantastist of American cinema, as both threepenny opera and Grand Guignol.

Sewn into the story is the debauched Grand Guignol behind - the - scenes world of rock star excess, compete with promiscuous groupies assailed by roadies and moguls, and somewhere in there is the wide - eyed, and well - intentioned ingenue Phoenix (Jessica Harper, magnificent), the beauty to Winslow's beast.

And like an Altman film, though truthfully his influence must be nominal at best, the vignettes herein take some blackly comic byways, occasionally giving in to cynicism (a disastrous hourlong odyssey into town results in a mugging, hardcore drug use and sex trafficking in a crackhouse in one of the most ludicrous Grand Guignol montages ever assembled).

There's always something jutting or crashing into the frame as the camera follows our beset heroine through the violent maze her house has become; it's all rigorously disorienting, leading to a Grand Guignol climax of liturgical bloodletting and beastliness that constitutes the most unapologetic turn away from the real in a studio film since the frogs fell in Magnolia.

They take «Get Out» seriously, because Peele, having laid the groundwork for the movie in multiple sketches on Comedy Central's «Key & Peele» that pulled humor out of racism, leaned into the horror classics that brought Grand Guignol wit to their dark themes: «Rosemary's Baby,» «The Stepford Wives,» and «Scream.»