Sentences with phrase «often in a horror film»

It's an astoundingly well - realized first feature film for director Jennifer Kent, and one that actually manages to deal with a type of relationship we haven't seen that often in a horror film.

Not exact matches

While it is often a public relations gimmick, having a nurse in attendance during a horror film is not all that strange.

Wrestlers practicing Lucha Libre often appeared in Mexican horror films.

Enduring a grueling - and often cruel - shoot in the Texas heat, Hooper's film changed the horror landscape.

And while the film is at times scarily atmospheric — a hunt in the cramped sewers under Baltimore, a horse chase through a foggy wood — it too often abandons the stony, old - timey horror that should be its main motif, because despite all the nonsense it works, in favor of slow - motion bullets and a super villain-esque masked crusader who is capable of impossible feats of speed and marksmanship.

Unlike many films dealing with the pending Apocalypse, which are often told in the horror genre with the visual horrors of the end of days, «Seeking a Friend for the End of the World» rightfully took a different perspective by focusing on people's natural reactions.

The original sci - fi, horror, macho action bonanza PREDATOR is one of my top films of all time, its gory as f*ck sequel PREDATOR 2 has grown on me with age (maybe because today's movies are more often than none sub par and castrated hence it glows in comparison).

Additionally, in no particular order, there were vocal supporters of the Ralph Jones «incongruously great score to «Slumber Party Massacre ``; «Phantasm» «s heavily «Exorcist «- indebted score from Fred Myrow and Malcom Seagrave; Danny Elfman «s channelling of Bernard Herrmann for «Nightbreed ``; Wojciech Kilar «s bombastic, often recycled music for «Bram Stoker's Dracula ``; John Harrison's score for Romero's anthology film «Creepshow ``; Richard Band «s better - than - deserved compositions for the terrible «Troll ``; the great Lalo Schifrin «s score for the original «The Amityville Horror ``; a more recent example in Climax Golden Twins» music for Brad Anderson «s now cultish «Session 9 ``; Pino Donaggio's terrific work with de Palma's «Dressed to Kill ``; Gene Moore's classic church organ scares in «Carnival of Souls ``; and while we've featured Bava fils above, we could easily have found room for his father Mario Bava, probably with the funky original music by Libra for his final film «Shock.»

The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends has been under - thought or misjudged, to the point where the film becomes a catalog of obscenities: a horror thrill - ride drawn from life, a thing for viewers to test themselves against while feeling just awful about Agu and his country, whatever its name is.

The buzz after Ari Aster's world premiere was that Sundance had produced its first horror great since «The Witch,» but midnight buzz is often a bit, shall we say, genre - biased, and films often sink when they play in the daylight.

Landis reportedly came up with the concept for this still - effective blend of comedy and horror while working in Yugoslavia on the film «Kelly's Heroes,» but recognition of his writing and directing all too often take a backseat to the startlingly effective makeup by FX legend Rick Baker.

Found footage horror films continue to pop up every so often in Hollywood, and hitting this this weekend is one of the first sci - fi ones, Apollo 18, directed by Gonzalo López - Gallego.

Horror films in the public eye aren't the most seat - packing bookings and often a lot of the great genre work throughout the year slips through the cracks.

Horror films, by necessity, live in a world where what's unseen is often scarier than what's visible.

Doug Jones (born May 24, 1960) is an American film and television actor best known to science fiction, fantasy, and horror fans for his various roles playing non-human characters, often in heavy makeup, in films and television series such as Buffy the Vampire Slayer, Hellboy, Pan's Labyrinth and Fantastic Four: Rise of the Silver Surfer.

I don't watch horror films often but I've done a fair job of picking out good ones recently: The Shining and The Cabin in the Woods.

As many horror fans know, that phrase is used quite often in the marketing of horror films, and rarely do the events of the film truly reflect the events they are based on in a significant way.

-- Halloween: The Curse of Michael Myers What better way to celebrate this year's 20th anniversary of the sixth film in the Halloween movie series than re-watching this often misunderstood and quite controversial entry into horror's most hallowed film franchise.

Sometimes hilarious, sometimes so painful you almost want to look away, it's sincerely thrilling to see such amazing performances in a horror film, a genre so often overlooked.

These films take a subtle approach, burying their ideas in stories that often mix hallmarks of the horror genre with characters belonging to dysfunctional families that function as metaphors for the global mood.

There are several graphic moments of brutal violence — you will see things done to the human head that you don't often see in a mainstream horror film — but one of the most affecting moments of violence wisely happens off - screen and with little fanfare (such as swelling music) to accompany it.

Now, Sundance regulars are often correctly skeptical of how those willing to stay up till 2AM for a horror movie respond — it's often a bit, shall we say, genre - biased — but this is a case in which the film completely lives up to the hype.

Never a major box - office presence with his microbudgeted, sex - drenched horror, women - in - prison, and porn films, Franco also spent the majority of his hyper - prolific career toiling in critical derision, often even among genre fans.

Whatever the truth of this, Poltergeist had far more in common with the positive vision of bourgeois suburbia found in Spielberg's own Close Encounters of the Third Kind (1977) or E.T. — The Extra-Terrestrial (released within a week of Poltergeist) than with any unnerving Texploitation made by Hooper, and often seemed to be a feel - good family film merely masquerading as horror.

Another element tangling the viewing experience is the fact that the creative team behind the film is entirely male: director Paul Verhoeven, novelist Philippe Djian, and screenwriter David Burke — who, interestingly, specializes in true - life horror films, often succeeding in humanizing the serial killer (Dahmer, Gacy).

The greatest horror films often thrive on simplicity, the idea that somebody or something dangerous could be in the most comfortable of places.

The Oscar potency for «Get Out» defied the conventional wisdom that films released early in the year («Get Out» came out last February) often struggle to get awards love, as do horror films.

Tellingly, his two biggest regrets, as he told GQ in 2012, are turning down two films that presented a similarly more complex idea of «winning» and «losing» than the more generic fare he often accepts: the Brad Pitt role in David Fincher's horror - thriller Se7en and the George Clooney role in corporate psychodrama Michael Clayton.

The project evolved from an interest in horror films as a genre where certain aesthetics and fear are often constructed by means of architecture.