Sentences with phrase «need in a horror film»

When Ann Dowd, chipper and beaming, shows up deep into Hereditary's grief - ravaged middle section, you shudder with relief; rarely has compassion felt so desperately needed in a horror film.

Not exact matches

The Weinstein Co's sale documents need to make clear the bankrupt film studio will defend Lionsgate Entertainment Corp in intellectual property disputes stemming from two horror movies, Lionsgate said on Thursday in court papers.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

Its comparatively simple first act remains a good example of how to apply the horror elements of the Silent Hill games to film with a degree of elegance and wit, and for a solid 35 minutes, it's an atmospheric film about a mother whose deeply maternal desire to help her daughter inadvertently places her in danger, and the need for Radha Mitchell's Rose to find her daughter when she goes missing provides a cogent and palatable, if somewhat slight, emotional basis from which the proceeding action can spring.

Writer - director Thom Eberhardt (Captain Ron, The Night Before), who had just come off of a similar survivalist horror tale, Sole Survivor, imbues his film with a tongue planted firmly in his cheek, and a genuine love for the various B - movie genres that gives the film the necessary sense of fun needed in order to not get bogged down in deadly seriousness that would have done the film in for sure.

The trailer for Hereditary is a kind of nice horror film previews that piles at the freaky imagery, leaving you in need of to grasp what's even going down and why.

by Walter Chaw The only genre that boasts more direct - to - video fare than horror is porn, and since we haven't quite reached the point of quiet desperation needed to begin reviewing porn, find here a smelted cheddar of four dtv horror features (actually, The Boogeyman got a theatrical release in 1980, though I can't understand why): the eighth film in Clive Barker's venerable horror octology, Hellraiser: Hellworld; The Boogeyman and its second sequel, the legitimately straight - to - video Return of the Boogeyman; and Kevin VanHook's The Fallen Ones.

The film looks like something interesting that horror fans will need to see, so don't forget to check it out at the end of the month in theaters.

It gives the idea of consumerism run wild the short shrift that it deserves (and the cynicism that an intervening quarter - century demands), touching on the original's explanation of the zombies» affinity for the shopping mall and the human heroes» delight at their newfound material wealth before becoming a bracing action film that, like Marcus Nispel's reworking of The Texas Chainsaw Massacre (the source of which didn't need updating as much as Dawn arguably did), is more firmly entrenched in the James Cameron Aliens tradition than the Seventies institution of disconcerting personal horror film.

The best horror film of 2016 was, like The Babadook and The Witch before it, a director's bold debut — which bodes well for a genre always in need of fresh blood.

The fact that we've been seeing much of the same things in so many horror films for at least four decades now tells you that there really needs to be more added to the genre.

But it's an objectionable turn of phrase, implying a certain intrinsically lowly or shameful status to genre film - making in itself: there are good horror movies and bad ones, smart horror movies and stupid ones, and the critical distinction seems clear enough without needing to delineate and elevate a separate subgenre on the basis of class and quality alone.

What You Need To Know: Pitched somewhere in between horror, family drama and psychological thriller, «Stoker» is the English - language directorial debut of Park Chan - wook, the heralded South Korean film director behind «The Vengeance Trilogy» (which includes «Oldboy «-RRB-, «Thirst» and «Joint Security Area.»

He directed the teen - witch movie «The Craft» back in the»90s, a better - than - it - needed to be horror film.

This is exactly the sort of film I needed to see at that point in time; it was a wake - up call, a reminder that not all horror was the Final Destination series, that I didn't need to watch every supernatural horror flick (see: The Eye, The Grudge, The Skeleton Key etc.) the studios pushed out every year — even though there was nothing wrong with enjoying them — and that there was an expansive and varied world of horror out there.

As yesterday's news set in that The Shape in the original Halloween, Nick Castle will resume the iconic role of Michael Myers again in the new Halloween movie, executive produced by John Carpenter and arriving in theaters in 2018, many fans questioned if the 70 - year - old Castle would need a walker for the film, to which a humorous response was posted by Castle's friend and associate Sean Clark (Horror's Hallowed Grounds, Convention All Stars).

Funny Games extends the counter-cinematic strategies of alienation in the debut trilogy and superimposes the framework of the generic structures of the thriller and the horror film in order to attract the very spectators who, according to Haneke, need to be critically aware of the cine - televisual medium.

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.

It needs that — Get Out is already eight months old and few films released in February are ever nominated for Academy Awards, let alone those made by black first - time writer - directors like Jordan Peele, and in the horror genre no less.

Get Out turns out to be more fun, and more provocative, than it is scary, at least in the traditional midnight - movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.

Leonid Melikhov: We've heard everything we need to hear about the game's premise and how it will adhere to the first Alien film's survival horror premise, but what mechanics are helping you in translating this to compelling gameplay?

As several reviewers have noted, this is not really a horror film nor does it need monsters since the monsters exist in a traumatized family as the ending clearly shows.