Sentences with phrase «more out of the genre»

The genre as a whole has become quite stagnant as both Call of Duty and Battlefield have left many gamers — myself included — wanting more out of the genre.

Not exact matches

Anime Strike is the first of these channels to be curated specifically by Amazon, though Variety reports that the company plans to roll out more genre - specific channels in the coming months.

To me it was all just same - old, same - old in the pop genre in general and the kind of one - upmanship you see in every video out here, where the more explicit you can be, the better.

Today, Ayer follows up one of the more notable losses in recent movie memory with Bright, a Netflix exclusive that falls somewhere in the sci - fi / fantasy genre but plays out on the gritty streets of modern day Los Angeles.

It makes more specific our mode of belonging to a culture where the signs are texts, i.e., writings and works arising out of distinct literary genres.

Others have pointed out how horror, more than any other genre, deals explicitly with issues of good and evil.

This year, I really wanted to make an effort to read more, and branch out in various genres of books.

You don't need to know the ins and outs of American Football to enjoy it, it's infinitely more accessible than others in the genre and it manages to keep the whole «Urban - Extreme» aspect to a tolerable level.

It takes something special to stand out in the ever - growing auto - running platformer genre, but ATOMIK: RunGunJumpGun does so with aplomb, copious deaths and a healthy dash of that «just one more time» mentality that'll keep you coming back for more.

Doesn't always supply the smoothest ride of revelations and comeuppance, spending more time sorting out its homework than dealing with the sweet slings of sleaze and suspense that often define the genre.

It's as rudimentary as slasher films go, and although it may not be fair to make the comparison, that will no longer cut it after Get Out proved that the horror genre is capable of a lot more than mechanically depicting people getting stabbed to death.

REC 4 won't win any points for being scary or terribly original, as this is more of an action thriller than horror, but it is mostly successful due to the fact that it drops the slapstick comedy of REC 3 and goes for a more serious tone, and the setting make this stand out in the zombie genre.

Shadow Complex comes to Xbox Live and more than projecting the revival of a genre out of use by industry it surfaces the difficulty of organizing a large - scale production at a low cost.

A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half - buried racial tensions than with scaring us to death.

«Get Out» makes black lives matter far more than they traditionally have in movies, particularly in the horror genre, simply by depicting the reality of being a marginalized minority in white - dominated spaces.

Despite a silly third act, it's again one of the filmmaker's more successful genre forays, suggesting that teaming with Farrell brings out the best in him.

At 93 minutes, the story doesn't stay longer than warranted, but still, the rest of the film clicks well enough that a bit more fleshing out would have turned a good action flick into a must - see for genre fans and even some non-fans alike.

I can't deny the sheer enjoyment of the film and quality performances within and so those who like McDonagh, this genre, or any of the cast should check it out, even if I wish there was a bit more reasoning behind these particular psychopaths.

Writer - producer - editor - director Krik (his director's credit reads «Dave Herman,» apparently out of concern that weaving too much inconvenient truth in with the genre fiction might attract the wrath the shadow conspirators), might have done better to deliver less retro larkiness and more straight facts.

Almost two full decades before the explosion of effects - and gore - driven horror created in large part by the emergence of a viable VHS genre market, Lewis and his producing partner crafted careers out of servicing the more prurient interests of theater owners, who were eager to book cheap fare that could fill seats between Hollywood studio engagements.

But Spy never lets its genre conceit get in the way of its comedy, which delivers more laugh - out - loud moments than any other mainstream comedy so far this year.

If this was a review of an iPad version then I would probably feel more favourable towards it but here, on the PC, a game as casual and potentially frustrating due to the nature of genre, feels out of place.

There's a lot to commend in Spooks: The Greater Good, but at the end of the day it offers nothing new to the genre and it's big - screen adaptation just needed to be more daring and step out of the confines of television.

THE DVD Paramount presents Young Sherlock Holmes on a bare - bones DVD whose paucity of supplementary material is more justified this time out for a selection from the studio's»80s genre cache than was the case with the thorny Dragonslayer.

A packed slate of genre film awaits him, and at a time when it's never been more fashionable to be into the far out, the Man Who Would Be Sparrow is surely the ace in the pack for any mooted fantasy releases.

Suffice to say, Burgundy turns out to be a much funnier and more humanistic picture than it initially appears, applying the tropes of its chosen genre — including some heavy fetish fuel — to a richer study of desire and relationships.

Eight decades later, the vampire genre is more popular than ever, partly because writers have dragged the undead out of their remote, neogothic settings and into ever more familiar locales.

It provides more than a few moments that will have horror genre devotees jumping out of their seats.

News has emerged as to the genre of the sequel to The LEGO Movie, and it's a little more out there than most — perhaps rather fittingly.

In eliminating the traditional foundations of the western genre, and replacing them with an intimate portrait of this band of defeated settlers, Reichardt has crafted what feels like one of the more original and authentic westerns to come out of the industry in quite some time.

With the exception of an eleventh - hour declaration of love, which feels both out of character and present out of necessity to fit the genre of the film, Run and Jump is, to its credit, more mellow drama than melodrama.

Performance wise I didn't suffer any major issues and overall Destiny 2 stands out as one of the more visually appealing entries in the shooter genre, with bright and colourful environments and foes in lieu of your archetypical drab grey aesthetic.

There are no «Matrix» visuals here — you might say that Fassbinder suggests his levels of reality and identity with mirrors — but conceptually it anticipates a genre of science fiction and visually it creates a near future out of modern architecture, gangster - movie fashions, futuristic bric - a-brac, and more glass and mirrors than a crystal palace.

The lack of any nominations for his films which are absolute classics and an integral part of cinemas genre history is much more shocking when other filmmakers have simply missed out at the final ballot stage whereas Leone didn't even get to hear the starting pistol fire.

What they find in there is both easy to figure out (stuff is mutating), beautiful and scary and weird (stuff is mutating) and inexplicable (most of the why and a bunch of other side mysteries), explored in a mostly unsatisfactory blend of arthouse stillness and genre thriller scares, part of a burgeoning subgenre of sci - fi films that I suppose function as a counterweight to the more populist nonsense of superhero sc - fi.

Thor: Ragnarok 2017 showed that there's more than one way to challenge genre conventions - redefining the superhero movie with the indie feel of Logan and the empowerment of Wonder Woman, to pushing psychological tension with horrors Get Out and mother!

Hollywood is praying that the Marvel Comics staple will electrify a dismal 2011 North American box - office, and squeeze more life out of a jaded superhero genre.

A genre film is more about how the film works within the rules of the genre, how it inverts them, and how the plot and style and overall human bits and pieces splash out onto the screen (more a more succinct Ebert quote, «It's not what the film is about, but how it is about it») and by that test, Kick - Ass is pretty damn successful in my book.

To an extent the story loses momentum toward the conclusion and slightly contrives an endpoint to Samantha's arc in a manner that feels like it was done out of a sense of requirement to the genre more than anything else.

That alone is enough for many to rush out and rent this gorehound import, but there's more: this is terrific, a dryly hilarious horror comedy with a macabre sense of splatter humor a la Evil Dead 2 (complete with zombie hunters armed with chainsaws and other deep woods implements of destruction) but minus the self - conscious wisecracking of the genre.

In addition to The Shape of Water, genre titles like Blade Runner 2049, The Last Jedi, Get Out, and Logan are all up for an impressive spread of categories that include more than the traditional collection of technical awards that more FX - heavy films that tend to be nominated for those awards.

While there are constantly exceptions, the rule remains that prestige dramas are where it's at, and genres that seem designed more to make money than win awards are more often than not left out of the club.

For the rest of this week and next, we're going to round some of them up, starting today with the 50 films we're most looking forward to out of everything (many with more of a dramatic bent) followed with another 50 tomorrow (with more of a genre / escapist leaning).

Yes, 2015 has had no shortage of the genre getting some really nice outings, even ones that are more modern than retro.

If the premise makes it sound like Glazer's sold out and made a commercial horror / sci - fi genre picture, you couldn't be more wrong — this is the filmmaker at his most experimental and unfiltered, with stunning images that of all three of his films to date, is most reminiscent of his unforgettable commercials work (more on this below).

The pop - cultural consensus on horror director Tobe Hooper would seem to be that, with The Texas Chainsaw Massacre, he somehow made one of the genre's defining masterpieces right out of the gate only to squander a promising career on a string of strange mediocrities that ultimately marked him more as a hack - for - hire than an auteur in the tradition of more respected contemporaries such as John Carpenter, Wes Craven, or George A. Romero.

With studios like Blumhouse (Get Out, Split, and the Insidious franchise) and A24 (The Witch, It Comes at Night) establishing distinct identities in the minds of moviegoers and television shows like American Horror Story, Bates Motel, and even Stranger Things spreading the genre elements across the airwaves — or, more likely, your laptop — it's difficult to deny that we're in the midst of an era of horror filmmaking that prizes subtext, mood, and tone over gore effects, elaborate kills, and jump - scares.

Walking simulators have come a long way since the likes of Dear Esther and Gone Home popularized the genre, but I never imagined that they would set out to reach... Read More

Gillespie and Kostanski know their way around satirical genre material (check out Manborg, Father's Day, and The Editor) but this flick earns unexpected points for (mostly) eschewing the humor in favor of suspense, tension, dread, carnage, monsters, tentacles, and more carnage.

Often when it seems like there's nowhere for zombie movies to go, a little out - of - left - field film comes along to prove you wrong, squeezing a smidgen more life out of the genre's exhausted conventions.