Sentences with phrase «of suspense films»

One of the greatest of all suspense films, this legendary French shocker is Clouzot's nerve - rending account of four expatriate drivers trying to escape a horrible little South American backwater by driving two truckloads of nitroglycerin to a burning oil field over dangerous mountain roads.

Not exact matches

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

During the moments of greatest suspense, activity in the frontal parietal brain regions, which are devoted to orchestrating attention, flared up in healthy participants and became increasingly intense until the end of the film, when the boy nearly hits the family maid with a real bullet.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

The list of horror, mystery, and suspense films

The whole finale is white - knuckled, some of the best aciton and suspense film - making I've ever seen.

The film starts off quickly in suspense, with a suspicious looking eastern European officer taking us through the events that would become the main emphasis of the film.

Director James Cameron's 1986 blockbuster follow - up to Ridley Scott's Oscar winning science - fiction / horror flick that became one of the biggest grossing films of 1979 asks a good question to a successful hit... How do you make a successful sequel to a film in which much of the suspense comes from learning about the mysterious monster?

The Interpreter tries to cast itself in the Hitchcockian tradition of Secret Agent and The Man Who Knew Too Much, but apart from the film's climactic bus sequence and another nicely crafted sequence toward the movie's end, this thriller never visually builds much tension or suspense.

Also, the film does a nice job of building suspense and tension.

Antal builds suspense over the first half of the film by using the hunting ploys to which the group is subjected.

Writer - director Ruba Nadda is wonderful at building up suspense for the first half of her latest film.

It's all a bit improbable, but Dolan — who claimed never to have watched any Hitchcock before filming — pulls off a Master - of - Suspense Psycho - drama, down to the scraping, disturbed violins.

There's not a lot of action in the movie, mostly plotting the escape and what not, but the suspense level couldn't be higher throughout the whole film.

The first half of the film builds suspense by putting the group through a number of classic hunting situations — from the perspective of the prey — being flushed out by dogs [though these alien «dogs» have all kinds of horns, spine razors and bad attitudes]; a booby - trapped companion; wandering into deadfalls, and the like.

The film isn't really fooling anyone into feeling doom - laden suspense (Paris, after all, is still standing), but the principal performers sell the momentousness of the drama.

It tries to create suspense about the survival of Bilbo, who we know full well is going to live long enough to be in the «Rings» films.

There's no real suspense, of course, as we know the outcome, but the swift and observant storytelling sustains interest all the way in a film that doesn't overstay its welcome despite its vast cast of characters and the considerable ground it covers.

The film is very stylized and atmospheric, which helps it to maintain an air of suspense and a sense of foreboding.

There follows a long working out of the film's title, as Jen transforms herself from victim to warrior and Ms. Fargeat turns her skills to suspense and gore.

Sadly, it's in service to a film that lacks in the way of suspense, depth or originality.

One of Hollywood's sexiest and most magnetic leading men, Denzel Washington's poise and radiantly sane intelligence permeate whatever film he is in, be it a socially conscious drama, biopic, or suspense thriller.

The tone of the film is all over the place, first romantic comedy than suspense finally slapstick.

Dial M remains more of a filmed play than a motion picture, unfortunately revealed as a conversation piece about murder which talks up much more suspense than it actually delivers.

With the artful and clever concept of little to no dialogue, the film keeps the audience engaged and too scared to make a sound themselves (you don't even wan to munch on your popcorn) Yes, as with many thrillers, there are a few plot holes, but the plot is unique, the acting is good and suspense is palpable.

The original film turned suspense levels to 11 by playing with dramatic irony, showing the audience the location of the three strangers far more often than the characters are aware of it.

The film's plot creates unceasing amounts of sheer terror and breathtaking suspense as the ship and its crew face realistic and unknown dangers when it is continually threatened by the scientist's natural defenses while dealing with the antibodies and other factors.

Though infused with impressive bursts of style, Johannes Roberts» 47 Meters Down is, for the most part, a disappointingly generic offering that contains few elements designed to capture and sustain one's interest - with the film's less - than - captivating opening stretch, which establishes the somewhat one - dimensional protagonists, unable to cultivate the atmosphere of abject suspense that director Johannes Roberts is clearly striving for.

He did several suspense films, including Johnny Allegro and Dangerous Profession, but it was his work on The Window that earned Tetzlaff a permanent place in the memories of filmgoers — a dark, chilling, and suspenseful thriller, based on the fable of the boy - who - cried - wolf, this film, about a young boy (Bobby Driscoll) known for telling tall tales, who witnesses a murder in his tenement building and can't get anyone to believe him, was an instant hit.

Once it gets rolling, there are a few very cool gore installations but the film didn't keep me engaged in the suspense once it confines itself to the one location because then it becomes just a series of «we killed it!

Some descriptions of The Salesman call it a thriller, suggesting a Hollywood - style suspense film.

Director Colin Higgins plays foul with the audience, constructing some of the most dishonest suspense sequences ever filmed, and ends with a thriller that is obnoxious and manipulative in the extreme.

Haneke films his actors in meticulously framed master shots, creating a kind of hushed neorealist medical - horror suspense.

The suspense of the film (which is so hugely violent that its PG rating is a mystery), is unrelenting and the performances first - rate.

Not dissimilar to Rosemary's Baby, the made - for - TV The Glow was supposed to have aired during the fall of 2001, but for various reasons (including an unofficial post-9 / 11 moratorium on suspense films set in New York) the film did not make its Fox Network bow until August 30, 2002.

The film has a fine balance of humor, mystery, suspense, drama, and innovative story telling.

There's no suspense about what will become of Anne: The whole film is a recounting of the events leading up to the one haunting pre-credit image, of Anne in her final repose, with which Haneke brings us into this experience.

The film is one of those rare modern thrillers that manages to combine fantastic acting and intelligent dialogue with real, heart - stopping suspense.

Although the film is quite slow at times, Hitchcock manages to keep a sustained level of suspense throughout the film, with the character Rupert Cadell being increasingly suspicious of the boy's activities as the film progresses.

It's an element of menace in keeping with the movie's otherworldly atmosphere; Holmer shoots these fits with suspense worthy of horror films, but she's not interested in shocks or viscera.

And don't think ZACHARIAH is wanting in the suspense department; in fact, the entire film (especially in its third act) hums with an imperceptible tension, as these characters slowly figure out if they can trust one another (and, really, spend the rest of their lives together).

Bassett uses lots of filtering and camera tricks to try and hide the budget of the film and it hurts the horror and ruins what little suspense is featured in the film.

A bit more suspense would have gone a long way here, and while director David Gelb, whose prior experience had been in the crowd - pleasing documentary Jiro Dreams of Sushi, has turned in a slick - looking feature for one with such a small budget (reportedly, only $ 5 mil), it really can't compete with better films out there in terms of quality, while it's too straight - faced in execution to at least give us some choice b - movie thrills.

Of course, in a film like this, there's a lot of suspensOf course, in a film like this, there's a lot of suspensof suspense.

Veteran cinematographer Robert Elswit, Paul Thomas Anderson's frequent collaborator who won an Oscar for «There Will Be Blood,» shoots Los Angeles in the wee hours with darkly gleaming menace, which is crucial to creating the film's mounting sense of suspense.

That's not to knock these films on quality or suggest that anything with name actors is merely mindless escapism: Fox Searchlight's thriller The East efficiently mines suspense out of Brit Marling infiltrating Alexander Skarsgaard and Ellen Page's eco-terrorist group (at least until it goes south in its last third) and the Paul Rudd - Emile Hirsch two - hander Prince Avalanche makes the most of its pastoral settings and gently bro - centric chattiness, to name just two.

What the film lacks is genuine suspense, because for all of its twists and turns, the set - up never reels us in effectively enough to bother paying attention when things become odd, and all interest is jettisoned in time for the epilogue where all is supposed to be explained.

Elizabeth's very cinematic blindness to Darcy's very British advance is the centerpiece of both novel and film, with all suspense drawn from the «will they or won't they» dilemma.

Exploring the concerned protagonist's attempts to cope with her own culpability in her offspring's activities, the film weaves a web of psychological suspense that leaves a nightmarish imprint on the watching audience.

The film would open in US theaters three months after Hitchcock left this Earth, demonstrating quickly that the Master of Suspense's work would give him immortality, a fact that feels no less true thirty - five years later.