Sentences with phrase «killer film so»

Many expectant moviegoers had been describing McTeigue's Poe film as Se7en in 19th Century Baltimore but, sadly, The Raven lacks nearly all the aspects that made David Fincher's serial killer film so captivating — i.e. jaw - dropping reveals, smart twists, and — despite loads of Poe stories to pull from — intriguing murder scenes are all in short supply.

Not exact matches

Then, over the course of a series of more dramatic rebellions, the film reveals more about Moll's past, her capacity to justify violence, and the very real possibility that she might allow a serial killer to get away with his crimes, just so she can be with someone who says he loves her.

So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani - dressing versions of the violent mobsters who inhabit the crime section of the newspapers.

The twist - filled storyline, which digs up nasty secrets all over the show and offers a satisfying range of suspicious suspects and a truly disgusting killer, remains gripping, and the excellent, understated lead performances don't harp on the racial angle in that embarassing fashion which makes so many Socialy Significant films instantly dated.

«Toxie,» as he's called by punk bands and pop film critics everywhere, has become so famous since his introduction in 1984 that you can now buy Toxic Avenger action figures, games, Topps trading cards, and even designer jewelry — all this in tribute to a head - crushing killer whose face looks like it's been bashed in with a bag of nickels, impaled with a turkey fork and barbecued on a George Foreman grill.

But while centering a film on the bad guys may sound like a cool idea, it's massively hampered by the fact that the Suicide Squad team is mostly comprised of D - list characters (like Killer Frost and Captain Boomerang) so obscure that they're every bit as expendable as Waller claims them to be.

Though a PG - 13 slasher film is like the equivalent of sex with clothes on, «Happy Death Day» gets around that hurdle by being less of a straight - up slasher and more of a darkly comedic murder - mystery that just so happens to involve a temporal loop and a knife - wielding masked killer.

So it's a shame, especially in a film about a serial killer, that «Bad Samaritan» has so little finessSo it's a shame, especially in a film about a serial killer, that «Bad Samaritan» has so little finessso little finesse.

The complex relationships bred from that moral ambiguity is likely what helped Hillcoat attract so much great talent, but while the film boasts a killer cast from top to bottom, only a few (like Casey Affleck and Mackie) really stand out.

Suicide Squad: Hell to Pay (2018) Feature - length animated film finds Amanda Waller's top secret «Task Force X» — Deadshot, Bronze Tiger, Killer Frost, Captain Boomerang, Harley Quinn and Copperhead — on a mission to retrieve a mystical object so powerful that they're willing to risk their own lives to steal it.

The colours are better than they are on The Killer, but that's probably owing to the fact that so much of the film takes place in a fluorescent - lit hospital instead of a candlelit church.

Doing so won her an Oscar in the 2003 film Monster where she portrayed a serial killer.

Apparently, some of these demented killers are so proud of their slayings that they get a kick out of filming their dirty work so they can watch it later at their leisure.

Amusingly, the unkillable killer - for - hire Deadpool is so over-the-top with his Woke White Guy shtick that it annoys everyone else on his squad; he is dismissed as x-hausting by film's end.

So do yourself a favor and check out I Am Number Four, because it is positively a killer film.

Shot on the streets of New York, like so many of his major works including The Driller Killer, Ms. 45 and Bad Lieutenant — and beautifully filmed in black and white, The Addiction sees the filmmaker on his own terms and at his very best: raw, shocking, intense, intelligent, masterful.

The film is introduced with the atypical title «William Friedkin's Film Of Tracy Letts» «Killer Joe,» «suggesting that it'll be a no - frills adaptation of the play, but that's not quite true; it's plenty faithful to the stage version, but Friedkin and Letts (the latter of whom adapted the screenplay himself) do a pretty good job in making the play cinematic, certainly more so than either «Carnage» or «A Dangerous Method,» adding some striking locations (including an abandoned rollercoaster) and even a chase scene.

Joining the festivities for this installment are Anthony Hopkins (a weapons scientist dubbed the «rock star of conceptual mass - killing» and «Da Vinci of death»); Catherine Zeta - Jones (a KGB agent and former paramour described as «Frank Moses's kryptonite»); and Lee Byung - hun («the best contract killer in the world» — a title the film so wishes to emphasize that it bestows it on him twice, verbatim, in the span of five minutes).

Nonetheless, «Ichi the killer» is one of the films that put him on the map, so having done that, it served its purpose well enough.

The performances are so wonderful — the way Johansson pronounces «fish ass» in a hard New York accent is killer — and the film — lensed by longtime Coen collaborator Roger Deakins, unquestionably the greatest working cinematographer — so beautiful to look at it's a pleasure in and of itself.

They also managed to spread the evil around a bit so the film doesn't rest on any one killer's shoulders.

While she is trying to find out who the killer is the film looses so steam as the false alarms because a little predictable but overall.

So all of this is pretty disturbing — as it should be, since Killer Joe is a disturbing and provocative film, and disturbing is pretty much writer Tracy Letts's stock - in - trade.

by Walter Chaw Somewhere in the translation from Jeff Shaara's only so - so novel Gods and Generals to Ronald F. Maxwell's magnificently bad film Gods and Generals lies the mystery of why the younger Shaaras and the Maxwells of the world see fit to take a Pulitzer Prize - winning novel like Jeff Shaara's The Killer Angels and make a country - fried trilogy out of it.

It's a bit like the director wanted to make a serious drama about getting older, but then realised that the film was running about 15 minutes short so decided to throw in a homicidal ice cream man to pad the runtime out, and it sure feels like that with the ice cream killer only appearing in about 15 or so minutes of this 87 minute film.

It's a lovely portrait of male friendship; considering «Shaun of the Dead» and «The World's End» so frequently put Frost and Pegg at odds, it's nice to see their characters so thoroughly on the same team and enjoying one another's company, delighting in their killer cop movie one - liners and the intense action that invariably breaks out near the film's climax.

Primeval, the second post-resurrection production, is a film that was so unsure of its African - crocodile - attacks - people premise that its marketing campaign told only of the world's greatest at - large serial killer with no mention of its reptilian nature.

The rest of the series doesn't hold quite the same nostalgia for me (although Halloween II comes close, due to it so often being screened back - to - back with the first movie in the weeks leading up to Halloween), but luckily every single one of the films — minus the anomaly of the third installment — feature Michael Myers, for my money the greatest of all slasher - movie killers.

These tracks sound similar to these ears: deep, clean, with fastidious distinctions made between the diegetic and non-diegetic sounds, which is of paramount importance to a film that so precisely deconstructs itself, featuring a killer who provides her own soundtracks for her murders, suggesting an artist in her own right.

(The first half of the film focuses on an insane Basic Training camp where the Marines must learn to become killers; and one of them learns to do so prematurely in the barracks.)