And then, at some point I'll have to re-design my author website, still under my name, but with a branding that allows for
more than thrillers.
More than a thriller, this adaptation of Jose Saramago's novel The Double is an absurdist - existential mood piece — and a very dark mood it is.
It was well written as a piece of literature,
more than a thriller, yet had the components of a thriller.
Not exact matches
The Amy Adams - starring sci - fi movie, an early Oscar favorite, is much
more than just another aliens - make - contact
thriller.
It is very good; a
thriller in the classic Koontz mold that really gets taut in the last 30 pages.But there is
more here
than a very good thrill ride — although that would be enough.
Podcasts have been around for
more than a decade, but it was the NPR audio
thriller Serial, which unpacked the murder of teenager Hae Min Lee and subsequent botched investigation...
Podcasts have been around for
more than a decade, but it was the NPR audio
thriller Serial, which unpacked the murder of teenager Hae Min Lee and subsequent botched investigation by the Baltimore Police Department, that arguably made podcasting take off.
We pretend that romantic comedies or naturalistic
thrillers set in the present day are
more «realistic»
than any that require us to remember that we live between immensities, for no
more than a fraction of sidereal time in a world that we did not make.
I'd become a writer of crime novels and
thrillers and I was
more interested in books
than in football.
So far: Katherine Neville's groundbreaking novel, «The Eight,» dazzled audiences
more than twenty years ago and set the literary stage for the epic
thriller.
He's so far knocked out 10 legal
thriller books, which were translated into
more than 20 languages and osmosed into movies such as «Presumed Innocent» and «The Burden of Proof.»
The movie works well as an engaging
thriller, but don't expect much
more than that.
And not only is the science credible (disclosure: Alpert is an editor at this magazine), so are the characters, who have several
more dimensions
than those in most
thrillers.
It was
more of a
thriller than a comedy, which was good.
The gunplay (what little there is), is done well, and even though the film is
more style
than substance, and could stand to be trimmed up greatly, it's a thinking man's drama /
thriller, and not a blockbuster action film.
«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.
There's no denying that when George Clooney wants to be an «artist,» he's
more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «
thriller.»
A mild box office performer, the sheer power of the picture was lost to catty industry gossip, with media types reporting
more on the studio itself
than the nifty
thriller they produced for their debut.
«The American» is an exercise in style and withheld sentiment, a bleak and atmospheric art - house
thriller that's
more of an aesthetic experience
than an emotional one.
Because the film is intended to be fun for computer - illiterates as well as techno - geeks, it's
more successful
than other recent efforts to bring some digital - age updating to the familiar
thriller formula.
This cop
thriller spans over not much
more than 12 hours of tough, gritty and morally grey work in the ugly parts of LA.
Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes
more of a
thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).
The direction by Marc Forster (Quantum of Solace, Stranger
Than Fiction) delivers a fast - paced zombie thriller, and with Brad Pitt front and center, there is a grounding of the film in seeming more intelligent and plausible than your typical scare fl
Than Fiction) delivers a fast - paced zombie
thriller, and with Brad Pitt front and center, there is a grounding of the film in seeming
more intelligent and plausible
than your typical scare fl
than your typical scare flick.
Although the problems appear to have had an impact on the final product, especially in the uneven tone of the comparatively smaller - scale finale and the unsatisfying epilogue, it's a bit of a pleasant surprise that the movie manages to hold together even through some turbulent patches to be worthwhile viewing for anyone not expecting much
more than a grandiose, set - piece dominated horror -
thriller.
The works of Max Brooks, who wrote 2003's satirical and subversively political, «The Zombie Survival Guide», and 2006's, «World War Z: An Oral History of the Zombie War», provided the kernels of inspiration for this mega-budgeted horror - action -
thriller that mostly makes up its own narrative, independent of much of the book content (jettisoning the first - person account style and most of the events), to make it fit
more with the ranks of current, eye - candy loaded popcorn movies
than a thoughtful adaptation of the best - seller.
Of course, the
thriller at least tries to develop this character and tell its story in a
more cerebral way
than those earlier efforts did.
Such, unfortunately, is the pitfall for
thrillers that aim to be
more literate and grownup
than the usual fare: they sometimes forget to thrill.
The biggest appeal in this glossy cop
thriller is seeing Denzel playing totally against his usual holier
than holy type and if he'd taken
more of these parts, I'd like him a whole lot
more.
In yet another ostensible
thriller about deadly germs wreaking havoc on human life and psyches, this is a frenetic, uneven story about germs going berserk in a sealed - off lab, giving rise to infected humans
more berserk
than the germs.
As the stakes escalate, Mark Perez's script still organically makes time for the characters» realities, like Max and Annie having trouble conceiving a child, without such story points feeling too forced, and plays on the expectations of
thriller plot twists
more than once.
There's
more than a glimmer of something engaging in Red Sparrow — a grim, sorrowful
thriller with a keenly rendered texture — but the film gets tripped up as it both resists classification and invites all of it in.
Calling big - screen legal
thriller «The Lincoln Lawyer» the best TV pilot I've seen in a while really isn't meant as a putdown — the truth is, there's
more good stuff on the tube these days
than in theaters, especially at this time of the year.
But there were also numerous duds, including animated family film Free Birds, drama Out of the Furnace, and
thriller misfire Paranoia, which all finished in the red (some in
more ways
than one, judging from those scores).
While that tells you
more about its 2013 (in a word: disastrous)
than it does about its 2014, Open Road did manage to get a lot of traction with critics last year with its Jake Gyllenhaal crime
thriller Nightcrawler.
[The clichés of the counterterrorism action -
thriller genre] cohere into something with enough surface plausibility to be
more entertaining
than insulting.
More than once my mind turned fondly toward «The Game,» David Fincher's magnificently preposterous 1997
thriller about an elite personal - entertainment firm that turns your life into a series of meticulously rigged pranks.
For the time it was set it reads much
more like a romantic
thriller than a case of mistaken identity or reviewing a network of spies.
There's no
more treacherous horror subgenre
than the rape - revenge
thriller, because the worst examples confuse exploitation for empowerment, answering graphic scenes of sexual assault with a gruesome parade of righteous kills.
«Red Sparrow» has the nudity and sex of an erotic
thriller and the stomach - churning gore of a slasher flick, but it also strives to be
more than a genre movie.
Our hygienic hero gets far
more than he bargained for in director Renny Harlin's twisty crime
thriller, co-starring Ed Harris as Carver's old partner and Eva Mendes as a grieving wife.
But Francis Lawrence's steely
thriller, based on the first of Jason Matthews» trilogy of novels, shares
more DNA with John Le Carré's densely - plotted espionage page - turners
than the MCU.
Margin Call is
more like Shark
thriller than financial meltdown 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.
Even if it isn't 10 % of the capacity to be an intelligent sci - fi
thriller, it's an above - par action and special effects movie, so if you go into it expecting no
more than that, it will deliver the goods in no short supply.
It's
more of a political
thriller than a straight - up action movie, but it still does a good job with an intriguing story and well - done action scenes.
Sydney Pollack's («Three Days of the Condor» / «Out of Africa») well - made but unimportant political
thriller (
more a character driven
than a plot driven story) is set in New York City and frames its story around an assassination plot of an African leader set to speak at the United Nations.
Not merely a documentary portrait, but an engrossing drama with
more twists and turns
than your average
thriller.
It's the end of the world as we know it - once again - in «Revolt,» a propulsive, no - nonsense sci - fi
thriller that's far
more watchable
than its generic title may imply.
More drama
than thriller, the movie does a slightly better job with period detail
than with character building.
Critic Consensus: Due to its use of cliched and ludicrous plot devices, this
thriller is
more predictable
than suspenseful.