Sentences with phrase «most slasher»

In a departure from the sexually active teens of most slasher movies, «The Hallow» plays on more grown - up fears: keeping your family safe and steering clear of a vengeful Mother Nature.

The film has a lot more substance than most Slashers.

In most slashers, she'd be the scream queen, but here she's not the one doing the screaming.

Not exact matches

Last year, Disney embarked on a bloody restructuring resembling a low - budget slasher flick; Miramax lost most of its staff in October, and Battsek announced his departure at the end of that month.

Don't like RomComs for the most part, but love SciFi if it's really top - notch, and Horror, but only if it's not just the dull slasher crap.

Ginobili is one of this season's most anticipated rookies, a 25 - year - old slasher who led Argentina to its upset of the U.S. at the world championships this summer.

When most people think about horror movies these days they think about the traditional slasher film or the recent (and grotesquely named) «torture porn» genre.

Exceptionally daft, tongue - in - cheek pastiche of the erotic slasher B - movie... the sole purpose of entertaining in the most blood spewing and badly acted way.

This film might be the most artfully rendered slasher sequel ever made.

It's probably the most light - hearted slasher / horror movie I've ever seen, and there's a mix of stoner comedy in here, as well.

Most of its 101 minutes are filled with routine slasher scenes and flecks of pop - Freudian hokum about why the infamous Michael Myers (Tyler Mane) is such a murderously unhappy guy.

On the strength of their 2003 slasher flick, High Tension, Craven hired director - writer Alexandre Aja and writer Grégory Levasseur, and the result is one of the most exhilarating, intense, and engrossing Hollywood shockers ever made.

Those last two elements carry the most weight in our slasher flicks, establishing death as punishment for bad behaviour and cluelessness rather than a side effect of «chance and necessity.»

Heard has previously appeared in head - twisting cult - slasher ALL THE GIRLS LOVE MANDY LANE, DRIVE ANGRY 3D and most recently opposite Johnny Depp in THE RUM DIARY.

Not only is it a work of terrifying brilliance, but it's also one of the most important films ever made: after 1960's Psycho and 1974's Black Christmas, Carpenter's Halloween firmly established the concept of the slasher film and changed the entire genre of horror forever.

One of this year's most fun horror movies was Christopher Landon's Happy Death Day, a creative spin on the slasher film...

For the most part, this is a claustrophobic slasher movie with much of the non-ironic drama taking place in the titled green room.

The most fun that could be had at the movies this year, Drew Goddard and Joss Whedon's clever, funny, scary feature lovingly deconstructs the creaky subgenre of the slasher flick and puts it back together into something that winks at the familiar tropes while never skimping on being rollickingly entertaining in its own right.

Ever since then, I have seen most movies in the horror genre at least twice and surrounded my home with a plethora of slasher memorabilia, movies, and comics.

The horror - film tropes resurface only intermittently in their later films: a hand bursting out of the ground, recalling the final shot of Carrie, during the prison break in 1987's Raising Arizona (a shot also used in The Evil Dead); the wood chipper that in Fargo (1996) is put to the grisly use that Marty had intended for his incinerator; Anton Chigurh's slasher murders in No Country for Old Men (2007); and, most acutely of all, in Barton Fink (1991), a film about a writer's worst nightmare, writer's block, complete with sweating wallpaper, expanding plumes of blood, and a hellfire climax.

What bothers me most about the film is that it squanders a solid grasp on slasher - movie conventions and, perhaps more importantly, on early - Eighties slasher - movie aesthetics, by which I mean the naturalistic minimalism we encounter in the first three Friday the 13th films.

It's strange and semi-tragic that Student Bodies actually has more of a plot than most entries in the slasher genre.

This director runs circles around most of the filmmakers on our list; we're only placing Psycho near the bottom because its horror comes in just a handful of scenes (one of which all but invented the slasher).

Most of your typical slasher films released these days are boring paint - by - numbers gore fests.

Despite it being a relatively straight forward slasher, it included one of the most talked about scenes of the entire festival that completely turned people off from being able to support it, which, at Fantastic Fest, is saying a lot.

Most of the stuff I find myself creeped out by no matter how many times I see it (e.g., Cure, the Winkie's scene in Mulholland Drive) is just on the border of the irrational, but slasher movies — in which the narrative is almost always a process of elimination — are really easy to rationalize, which is probably why there's so much academic literature about them.

Nimrod Antal's filmography includes the subway thriller Kontroll, the Luke Wilson slasher flick Vacancy, and the upcoming heist movie Armored, which apparently helped sell Rodriguez the most.

If you grew up as a horror film fanatic in the 1980s, you may have run through most of the American slasher flicks and occult thrillers — and then you rented Lucio Fulci's 1980 cult favourite Zombie, which hopefully led you to all sorts of gore - laden apocalyptic mayhem from Italian splatter - slingers like Umberto Lenzi (Nightmare -LRB-...)

Though testosterone - charged, action movie fans will enjoy this the most, this cross-genre excursion should also please the science fiction crowd, as well as aficionados of horror, as its plot feels very much like a slasher film, though with much better technical specs and a more developed premise.

I think most of us are pretty big fans of Julien Maury and Alexandre Bustillo, the duo behind the slasher masterpiece Inside (À l'intérieur), as well as Livide and Among the Living.

One of the most compulsively watchable slasher relics looks better than ever on Scream Factory's packed Blu - Ray.

OK, the plot sounds like a standard American slasher flick, but «standard American slasher flicks» stole most of their tricks from the Italians.

Most countries, for whatever reason, have dabbled in the bauble - lit world of Christmas nasties — America (Silent Night Deadly Night, 1984; Santa's Slay, 2005); Canada (the seminal snowy - slasher pic, Black Christmas, 1974; Christopher Plummer in The Silent Partner, 1978); India (Hide & Seek, 2010); Spain (Paco Plaza's»80s - set homage, A Christmas Tale, 2005); and Mexico (the psychedelically bad Santa Claus and The Devil, 1959).

However, its creepy villain, fast - paced editing, frightening score, and, most of all, massive box office success became a standard that the slasher genre would try to follow.

One major exception is the 2003 remake of The Texas Chainsaw Massacre, which is the most successful slasher remake ever made.

Out of all the films screening at Fantastic Fest in Austin this week, the Korean slasher Office was the one I was looking forward to the most.

«Drive» — The Elevator Scene For a film filled with many memorable moments — the opening action scene, the credits, Ron Perlman's huge frickin'teeth, the masked slasher stalking scene, Christina Hendricks meeting a shotgun, Albert Brooks getting all knifey, the hammer and the bullet — the one that seemed to have the most lasting effect on audiences was that elevator scene.

On the other, Kinski's scenes are at least amusing and occasionally hypnotizing — a pair of shots in which he's seen applying eyeliner and lipstick must be among the most riveting close - ups ever to grace a slasher film.

For this io9 guide, we picked cinema's biggest, most evil slasher - movie baddies... plus a few cult favorites, too.

Whatever the case is, the movie still sounds like it'll be a fantastic continuation for one of the most memorable slasher films in existence.

Genre house Cinepix recognised a keen horror voice in Mihalka, who delivered a lean, mean slasher thriller that became one of the production company's most profitable properties; Paramount picked it up for US distribution and turned it into the sleeper hit in February «81.

This opened the door for one of horror's most famous franchises — a classic slasher among the likes of Friday the 13th and The Texas Chainsaw Massacre.

Fruet would carve out a career of memorable Canadian genre works, including Search and Destroy (1979), the Genie - nominated Funeral Home (1980, aka Cries in The Night), the hillbilly horror of Baker County USA (1982, with Henry Silva) and the monster - snake creature feature, Spasms (1983, with Peter Fonda and Oliver Reed); one his most popular works was Killer Party (1986), one of the Canadian sector's better entries in the «sorority slasher» genre of the day.

The Hollywood star has been a frequent visitor to Cannes as an actor, most recently accompanying two Nicolas Winding Refn films — the bloody slasher set in Bangkok, «Only God Forbids», and thriller «Drive».

Most of the franchise's slasher brethren have been through one or more storyline...

One aspect of the movie that it's difficult to be disappointed with is the score, which is among the most effective of the slasher era.

The original movie shot this extra dose of adrenaline into slasher flicks, bringing a new found interest when most were beginning to think it was a tired genre.

Tracks like album opener «Only One Will Die» and «Heads Shoveled Off» feature bombastic blast beats and thunderous double bass courtesy of Mr. Paul Mazurkiewicz while tracks like «Code of the Slashers» and «Shedding My Human Skin» feature some of the most guttural, demon summoning growls by George «Corpsegrinder» Fisher.

Granted, it's probably like pointing out that most American slasher films follow the same formula, but still, what's the point in remaking a movie we've already seen?

A handful of honorable mentions include Jaume Collet - Serra's Giant Shark vs. Blake Lively creature feature The Shallows, Nicolas Pesce's demented black - and - white minimalist slasher The Eyes of My Mother, Polish murder mermaid musical The Lure from Agnieszka Smoczynska, Adam Wingard's effective if somewhat disappointing Blair Witch sequel, Nicholas Winding Refn's ethereal and equally not - as - great - as - it - should - have - been, the sanguine - soaked feminist satire The Neon Demon and Turkish import, Can Evrenol and Ogulcan Eren Akay's WTF - loaded Baskin, which features some of the most grotesque imagery of 2016.