It's worth noting, too, that Cronenberg's decision to shoe - horn in
moments of body horror, presumably in homage to his much more talented father, fall entirely and almost comically flat, while the pervasive lack of momentum ensures that Antiviral fizzles out to an astonishing degree long before it reaches its half - baked climax.
It stays far away from mainstream tradition of horror and instead goes for the
kind of body horror that was obviously inspired by Brandon Cronenberg's father, David Cronenberg.
The infamous series Hellraiser is the perfect archetypal
example of the body horror genre, and it has set the standard for the entire future of the subgenre.
There are some gruesomely well - orchestrated
scenes of body horror (one particular dissection is nightmarishly staged) and Garland's knack for gonzo imagery ensures that many scenes in the film will make a lasting impression.
Her feature - length debut, 2013's «It Felt Like Love,» focused on the bumpy trajectory of an introverted teenage woman exploring her urges with dangerous results; with the markedly similar «Beach Rats,» Hittman brings the same tropes to the plight of a young man in a film that has the precision of a great short story and the
uneasiness of body horror.
The world that Garland has created here, constantly defamiliarised by impossible mutations, is a surreal place, natural seeming yet painted and sculpted with grotesque Dalí-esque flourishes and the odd
flash of body horror.
Featuring Howard Shore's hair - raising debut film score, this deeply personal take on the trials of parenthood and the trauma of divorce — which Cronenberg described as his version of Kramer vs. Kramer — establishes the
mix of body horror and psychological terror that would soon become the director's trademark.
By far the most evocative of these are Reed's stretched - out limbs — a nightmarish
bit of body horror.
The introduction of a mysterious woman (Elizabeth Debicki, always with inappropriately dazzling hair in space) is one of the few strong suits, combining the suspense of this confusing crisis with wince - inducing grotesqueness, which
reminisces of the body horror of Tetsuo: The Iron Man or David Cronenberg's eXistenZ.
Having little to do with King's writing, it is nevertheless an effectively nasty
slice of body horror, featuring a superb turn from a young Edward Furlong, and worth seeking out.
From the bleak settings and synth - heavy soundtrack to the hyper - stylized violence and
hints of body horror, this film would feel right at home next to Carpenter's early output like «Assault on Precinct 13» and «Halloween.»
Instead, Pattinson starred in Cosmopolis, adapted from a Don DeLillo book by David Cronenberg, the Canadian
maestro of body horror.
It also has a pitch perfect
balance of body horror and black comedy, which makes for a campy and surreal experience.
Those hoping for a return to the Cronenberg of yore, with all
sorts of body horror and associated extra orifices will be disappointed by his newest release, Cosmopolis, which is more dull than anything else.
There are also huge and disgusting bosses to fight, which always grabs our attention as
aficionados of body horror and gruesomeness.
The player must solve puzzles, which range from simple lever pulling to more grotesque
displays of body horror — each made even more unsettling by its banality.
Ito's artwork often explores two areas: a disturbing
style of body horror that is unique to him, and the existential inevitability of one's demise.
In the gallery's back room, however, was the real find for Hirst aficionados: examples of the artist's newest series, a group of works that embed gleaming steel scalpel blades (a particularly incisive
symbol of body horror) in multicolored gloss paint to create wall pieces that build on both his medical sculptures and his intricate mosaics of butterfly wings and other dead insects.
Once Carpenter lets loose completely, there are
moments of body horror that rival the tearing flesh of The Thing.
It's also a love letter to the universe of the first — the best — Alien film, a world dense with texture and dystopian meaning, ripe for this
kind of body horror.
In moments of horror, Garland evokes the gnarly creatures of Alien and Predator and moments
of body horror that wouldn't be out of place in a Cronenberg film.