Sentences with phrase «more than horror films»

Something tells me I would enjoy this one more than any horror film I've seen in 2012, including «The Cabin in the Woods».

Until Dawn is more than a horror game and more than a horror film.

Not exact matches

But all varieties of horror flick are easily identifiable at this point, whether they're spooky, low - budget films (numerous); viscera - stained slasher movies (more numerous); quick - cut zombie flicks (even more numerous); macabre sci - fi, floating - in - space efforts (somewhat less numerous than they should be); sexualized vampiric tales (I trip over one of these whenever I get the newspaper); films of the more critically favored retro - mashup variety (Quentin Tarantino and Robert Rodriguez's Death Proof plus Planet Terror feature Grindhouse); or foreign entries of the psychological horror variety (the works of Dario Argento, of course; Alexandre Aja's films, which have their defenders; and Juan Antonio Bayona's El Orfanato, which only someone who truly dislikes cinema can dismiss).

Whatever the case, I've realised that connecting mainstream witchcraft with conscious worship of the devil is fuelled more by horror films than reality.

While it may seem counterintuitive, there probably isn't a film genre (excluding movies produced by Kirk Cameron, anyway) that more consistently or explicitly references Christian ideas and iconography than the horror genre.

The monster in this horror - film scenario is a coconut crab, the world's largest terrestrial invertebrate, which has a leg span wider than a meter and can weigh more than four kilograms.

Mothra Field, Pacific Ocean Named after the infamous giant - insect monster of Japanese horror films, the Mothra Field is even more astonishing than its cinematic namesake.

Scientists Bad: A survey of more than 1,000 horror films shown in Britain between 1931 and 1984 found that scientists or their creations were the villains in 41 percent of the films and that scientific or psychiatric research had produced 39 percent of the threats.

This film plays out like more of a drama / horror rather than a straight up horror flick and I really admired that change of pace.

«World War Z» isn't your typical zombie movie, but rather a globe - trotting socio - political thriller that treats the zombies more like a viral disease than something out of a horror film.

The film starts to pick up after it begins borrowing liberally from The Omen, even more liberally than the film's two predecessors which, as freak - accident horror films, are by definition Omen clones.

I went in this movie expecting a cheap slasher horror film, but I was having high expectations, because it has been announced in development since 2009, what I got was way too more in depth than I was barging for, this movie can't be reviewed without spoiling it, what I have to say is... SEE THE CABIN IN THE WOODS, it is different dark comedy with mystery and great visuals (hint) SEE THIS MOVIE.

There should be a little more horror than a couple of shots in the first hour and then a few poorly filmed kill scenes at the end.

But after the first third — the film is more than 3 hours long — Schindler begins to recognize the horrors that are going on around him and feels compelled to do something about it.

More an action blockbuster than a horror squelcher, it contains spectacular crowd scenes that have an Hieronymus Bosch quality, but the film lacks strong meat — of the emotional and bloody zombie - cannibal sort.

An intelligent and scary horror film that makes a more than welcome commentary on the horrors of war and gender oppression in Iran, using a lot of symbolism and keeping us in an increasing state of anxiety as it moves in a deliberate, slow - burning pace towards a terrifying climax.

More often than not, when a film that is a wartime drama gets released, it usually focuses on the battlefield, and the horrors of war.

I don't know, just the way her body language and how she acted actually really worked and added something to the film that improved it much more than just your basic horror film.

You can admire a movie like Steven Soderbergh's «Contagion» (2011), a realistic rendering of civil breakdown caused by a spreading pathogen, but the horror - film version of disaster in «World War Z» stretches the senses to take in more than you may expect.

Unlike many of the horror films of the time that relied heavily on gore and torture for cheap scares, «The Strangers» reverted back to authentic dread and played upon the audience's comfort levels — there's nothing more terrifying than being unsafe in your own home.

But as with Hillcoat's subsequent film The Road, neither the script nor the direction allow a genuine sense of horror to build, and it becomes more about the journey itself than the meaning behind it.

Once again the most prolific distributor of the year, IFC maintained a more - than - one - film - per - week pace throughout 2013, with releases in multiple genres coming through a variety of sub-brands, including the artier Sundance Selects and the horror - oriented IFC Midnight.

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.

Horror films need to be more than jump scares to be good, and this one is accompanied by a good moral of growth, facing your fears, and has a good amount of humor to make for a really good movie.

Entertainment One earned less money in 2013 despite releasing more films than in 2012, possibly because those films weren't all that good; only one, horror thriller We Are What We Are, managed to collect positive reviews.

His script is more ambitious than that of the average horror film, with a plot structured across different timelines, creating excruciating tension in the process.

This film is a standout horror Slasher that relies more on suspense and atmosphere to create its horror than straight forward bloody kills.

This gruesome French horror flick (2016) functions more as a mystery than as an action film, with an endless drip drip drip of revelation that gradually exposes a terrifying world behind the everyday.

The original sci - fi, horror, macho action bonanza PREDATOR is one of my top films of all time, its gory as f*ck sequel PREDATOR 2 has grown on me with age (maybe because today's movies are more often than none sub par and castrated hence it glows in comparison).

This is a film about a horrific act of violence that eventually results in more bloodshed and gruesomely realistic, Cronenbergian body horror than anything I've seen in a long time.

The film went on to make more than $ 319 million worldwide and still remains the second highest grossing original horror movie of all time, second only to «The Exorcist.»

Venom's premise, which is borderline nonsensical in its unfolding, is curiously played straight by director Piers Haggard as something closer to the similarly location - bound Dog Day Afternoon than the more populist horror films that cropped up during the early 1980s.

That's the central conceit behind Creep, a no - budget horror movie that delivers more scares than films with 10 times more money.

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.

You're Next — A group of killers thinks they've got easy prey when they decide to attack the Davison family's wedding anniversary, but they get more than they bargained for in this horror / comedy / action film.

I also don't find it inordinately scary, but it is well created, especially in its use of sound to create tension, which is more than one could say about most jump - scare dominated horror films released in theaters today.

While It Comes At Night is without question a horror film, its horrors are more cerebral and internalized than your standard jump - scare laden scary movie.

Additionally, in no particular order, there were vocal supporters of the Ralph Jones «incongruously great score to «Slumber Party Massacre ``; «Phantasm» «s heavily «Exorcist «- indebted score from Fred Myrow and Malcom Seagrave; Danny Elfman «s channelling of Bernard Herrmann for «Nightbreed ``; Wojciech Kilar «s bombastic, often recycled music for «Bram Stoker's Dracula ``; John Harrison's score for Romero's anthology film «Creepshow ``; Richard Band «s better - than - deserved compositions for the terrible «Troll ``; the great Lalo Schifrin «s score for the original «The Amityville Horror ``; a more recent example in Climax Golden Twins» music for Brad Anderson «s now cultish «Session 9 ``; Pino Donaggio's terrific work with de Palma's «Dressed to Kill ``; Gene Moore's classic church organ scares in «Carnival of Souls ``; and while we've featured Bava fils above, we could easily have found room for his father Mario Bava, probably with the funky original music by Libra for his final film «Shock.»

While largely avoiding the Twilights and Divergents of the world, he's made interesting career decisions, weaving horror and indie films throughout his comedy roles, and largely using social media in a much more subversive and less thirsty way than some of his peers.

Ironically, the scariest parts of this genuinely scary film are its quietest, and the formal innovation of the minimalistic and claustrophobic sound design — necessary to represent a world where breaking the silence will kill you — is what makes A Quiet Place stand out from standard horror fare usually committed more to jump scares than to skillfully calibrating a rising feeling of tension.

Growing up in New York, Peele would spend his nights obsessively poring over the films of Spielberg, Stanley Kubrick and David Cronenberg, favoring horror titles among his collection of more than 300 VHS movies.

New Mutants is directed by Josh Boone and written by Boone and Knate Lee, and is positioned as more of a horror movie than a superhero movie, as evidenced by the film's initial trailer.

Crimson Peak reveals the first fright before the opening title, yet 15 minutes into the film this original screenplay feels more like a Jane Austin adaptation than a horror movie, and that isn't a complaint.

Director Justin P. Lange delivers more than scares at the 18th Annual Tribeca Film Festival, with a horror film that is dark, intimate and thoughtful.

We see the destruction of Metropolis from his ground - level viewpoint in a genuinely tense and engaging opening sequence (after the contractually obligated retelling of Bats» origins during the credits), that does far more to convey the true horror and damage of that fight than the previous film.

The film's subtle brand of cerebral terror cuts sharper and deeper than anything found in a more conventional horror movie.

This is one film that only relies on jump scares to scare you, and time and time again you find yourself more bored than enjoying yourself due to the fact that it is a poorly constructed horror film that doesn't offer anything remarkable for genre fans looking for something really interesting to watch.

clouzot deserves far more respect than he receives in the U.S., and this film simply adds to his legacy of astoundingly good suspense and horror films.

Until suddenly he does, and the film shifts gears from a study of trauma into a more conventional (but still eerily effective) horror movie, with Josh (who looks more than a little like Glover in River's Edge) enthusiastically casting himself in the role of psycho killer, as if trying to live up to what he worries his best friend thinks he's become anyway.

However, he seems quite befuddled as to what to do within the atmospheric horror genre, never really building solid suspense, and offering nothing more than to throw more unpleasant images at us whenever the film starts losing momentum, which is quite often.