Sentences with phrase «moments in horror films»

I think some of the most terrifying moments in horror films have featured little kids, that's all I'm saying.

Not exact matches

This same fantasy is mirrored in «A Quiet Place»: The only moment of relief in the whole «silent horror film» is when Evelyn and Lee are wired in together, swaying gently to their own music and silencing the world outside their earbuds.

George Lucas's films had moments of levity, horror, action, drama, etcetera for a reason in different parts of the film.

Power also brings a remarkable degree of technical skill to the film, cutting between his two chronologies at telling moments and turning the idyllic surroundings into a place where danger and horror seems to rest behind each bend in the trail.

From that moment when the kidnappers drop off their first victim and we realise what horrors Scott Frank is willing to show in this film, we are kept on a knife's edge when it comes to tension.

The film owes a little to the horror genre, certain visual moments capturing that hair - raising creepiness common in the genre greats — I'm thinking of the way the camera foregrounds and backgrounds people and space in a certain sequence towards the end (reminiscent of Mike Gioulakis and David Robert Mitchell's efforts in It Follows).

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

This is less dark looking than his films usually are and it has this lovely way of mixing horror thriller and comic moments, sometimes in the same scene.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Some of the film's more startling moments and visuals are the most effective and unsettling sequences I've seen in a horror film in recent years, which will be due in part to what personally unsettles me, but may have no impact on anyone else.

And so, we are taken on a prison break mission with the addition of young whippersnapper Quicksilver (Evan Peters from American Horror Story) whose super-speed power is introduced in one of the most inspired and fun moments of the film.

It's a moment, really the only one in the entire film, that does what horror thrillers are supposed to do: It makes you feel as if the universe is stacked against you.

I was also impressed at how Tarantino managed to make this movie like his others but also take his anti-slavery message very seriously at moments in the film — occasionally showing the true horrors of slavery in an unflinching manner.

You might have noticed that indie horror is having a moment, with recent films like The Witch, It Follows, The Babadook and Goodnight Mommy pointing towards a growing trend in more serious, mood - driven storytelling which doesn't rely on cheap scares and lazy cliche to get its message across.

One of the most terrifying moments in It Follows, the best American horror film since The Blair Witch Project, tracks a group of teenagers into a high school, where they're trying to investigate the origins of a being that's relentlessly tracking one of them.

Kramer's screenplay reveals facets of a genuinely important personal experience with real horror, and Murphy's film captures a suffocating dread at the sudden merging of sex and death at a cruel moment in history — complete with a climactic romantic gesture that finally, heartbreakingly, insists love matters most.

Govaerts, who co-wrote the screenplay with Roel Mondelaers, accomplishes so much with his slasher film, giving the story plenty of room to gestate while still giving us moments of horror and terror in equal amounts.

But even if the film meanders more than it unnerves, more interested in creating elegant images and moments than tension or mood, the finale is perfectly orchestrated and it delivers a deliciously cruel poetic justice with echoes to Bava's Black Sunday, the film that made Steele an icon of Italian horror.

Twenty - eight days after the infection, Jim awakens from a coma only to find the streets of London deserted — it's such an unsettling moment in the film knowing that something so quiet and still eventually becomes a raging bout with horror.

Not a horror film or thriller, nor exactly a ghost story, it is a deeply uncanny portrait of a home, most effective in its close attention to domestic spaces and its moments of intimate chamber drama.

There are several intense moments in Annihilation, including a creature attack that plants the film in pure horror territory.

There are several graphic moments of brutal violence — you will see things done to the human head that you don't often see in a mainstream horror film — but one of the most affecting moments of violence wisely happens off - screen and with little fanfare (such as swelling music) to accompany it.

The film is like a tropical hybrid of Aliens and The Thing, and there is a moment in this film where the team is in peril with one of the creatures in The Shimmer that simply ranks as one of my favorite horror moments in the past decade.

Director Guillermo del Toro has described the script for his upcoming film Crimson Peak, his first ghost - themed horror film since The Devil's Backbone, as a classic Gothic romance with a mix of kinky and scary moments, set in a haunted house in England.

There are moments in director Ramin Bahrani's film, 99 Homes, that occur like a horror film.

About five minutes after entering the Perron residence it's clear he has no idea what he's signed on for and his reaction shots and penchant for doing the «acting stupid in a horror movie» go a long way to bringing needed moments of humor to the film.

With its stunning visual style, sly subversion science - fiction and horror genre conventions and one of the most terrifying and memorable monsters in screen history, «Alien» became an instant film classic from the moment it burst forth — literally — in the summer of 1979.

In moments of horror, Garland evokes the gnarly creatures of Alien and Predator and moments of body horror that wouldn't be out of place in a Cronenberg filIn moments of horror, Garland evokes the gnarly creatures of Alien and Predator and moments of body horror that wouldn't be out of place in a Cronenberg filin a Cronenberg film.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

They helped turned «The Room» into an interactive «Rocky Horror Picture Show» for a new generation — tossing footballs and lobbing plastic spoons at the screen, homages to memorable moments in the film.

While the roving bands of characters explore the building in this «site visit,» the building itself becomes a character of its own, the way a haunted house might in a generic horror film — «that was a haunted ceiling moment!»