Sentences with phrase «marketed as a horror film»

Easier to make a buck by marketing it as a horror film «from the director of William Friedkin» than a new level of psychological torment in cinema.

I was hooked from «The Sixth Sense» and «Unbreakable,» and I stand by my contention that «The Village» is a fantastic film that was poorly and incorrectly marketed as a horror film when it's clearly not.

The Other was marketed as a horror film, but it's a decidedly unconventional one.

Not exact matches

Avnet (whose father, Jon, is a veteran Hollywood director and producer as well as the studio's co-CEO) told Fortune the studio wanted to maintain the film's authenticity — they wanted viewers to think the horror film playing out in real - time might really be happening — so they avoided marketing the movie and, in fact, they did not even run the idea by Snapchat before proceeding.

Being marketed as a generic, run - of - the - mill horror film is the worst thing that can happen to you from a critical standpoint, but from a commercial point of view, there

Marketing this film as a horror film was a major misstep and will likely account for much of the negativity this film received.

By contrast, every single «chills over kills» horror film on the list is generally regarded as either an outright blockbuster (Paranormal Activity 1 and 2), a hit relative to its budget and marketing visibility (Insidious, The Last Exorcism) or a minor success (Devil, which grossed over three times its $ 10 million budget domestically).

And though Showgirls has been universally reviled and is now rather forcibly embraced as a cult film, the misleadingly - marketed movie is really yet another in a long line of Hollywood horror films masquerading as something else entirely.

I'm going to venture that Bug is going to have a small, loyal audience, as it is a strange film, with a sense of gruesome atmosphere that will most likely turn off mainstream viewers, particularly those who fall for the studio's marketing of it as a straight horror flick.

The film feels as if it was made free of the usual compromises made to kowtow to a mass market and thus is a perfect arthouse horror film as well.

Britain fared better, with my favourite sci - fi horror film in a long time, Glazer's Under the Skin, and my favourite entertainment film of the year, the conventional, but charming Pride, while the flawed Mr. Turner impressively reflects the great painter's sun worship through Dick Pope's widescreen cinematography.Highlights of my year included being on the FIPRESCI jury at the Hong Kong IFF, where I admired Yang Hen's third feature, Na pian hu shui (Lake August), and a couple of first features among others, as well as attending the amazing HK film market for the first time, where I saw one of my three 2014 «films for the ages», Tsai's Journey to the West; and seeing a nitrate print of Hitchcock's Rebecca at the George Eastman House in Rochester (where they are doing a three - day all - nitrate festival in May, 2015!).

is being marketed as a straight - up horror film, with images of Jennifer Lawrence being terrorized by some unseen force and Javier Bardem offering up a trademark menacing glare.

As many horror fans know, that phrase is used quite often in the marketing of horror films, and rarely do the events of the film truly reflect the events they are based on in a significant way.

After a surprisingly entertaining intro film and an awful sequel (directed by Jack Sholder — with Wishmaster 2 and A Nightmare on Elm Street 2, he did his best to fatally harpoon two budding franchises), Wishmaster 3 staggers onto the direct - to - video market with an astonishingly dull start that establishes Diana as a typically wounded horror movie scream queen and the film itself as just another dead - teenager flick.

Its horror and thriller films are bursting with creativity, originality and a unique voice in a flooded international market, set apart by works such as Bong Joon - ho's «The Host,» Jang Cheol - soo's «Bedevilled» and Kim Jee - woon's «I Saw the Devil.»

The lovingly crafted romantic comedy and zombie horror film — a «rom - zom - com,» as marketing called it — remains, perhaps, the most satisfying of any of them.