Sentences with phrase «rather than a thriller»

The source material is a pretty lacklustre book; the content is good, but it has been said to read like a UN report on a zombie invasion, rather than a thriller.

Not exact matches

«World War Z» isn't your typical zombie movie, but rather a globe - trotting socio - political thriller that treats the zombies more like a viral disease than something out of a horror film.

If The Raven would only settle down a little, take in all the atmosphere it's created rather than rush through it on the way to the next thrill, there could have been something interesting here, a period version of Copycat, the terrific little thriller from 1995 about a killer who recreates famous serial murders of the past.

Gritty and claustrophobic, this British horror - thriller holds our interest with well - played characters rather than the wobbly plotting.

With a stronger actress who could have been in greater command of the character, Freeze Me would have been a cold - hearted masterpiece rather than the okay thriller it turned out.

But rather than falling into cliché, Hardy's quickening pace, coupled with truly creepy cinematography by Martijn van Broekhuizen and gruesome makeup, creates a surprisingly taut thriller.

A delicious thriller that gets under the skin à la «All About Eve,» albeit with a twist: The craft here is still theater, but of the workplace rather than the stage.

Rather than a sequel or spin - off, this is a spiritual successor to 2008's Cloverfield, a terrifically tense thriller that builds a genuine sense of horror.

Rather than try to take on Matt Damon in space, Focus surveyed the release calendar and wisely moved «London» to Jan. 22, 2016, where it will go up against a faith - based movie starring Tom Felton, STX's low - budget thriller «The Boy» and the Kevin Costner - Ryan Reynolds crime drama «Criminal.»

The distributors of The Silence of the Lambs, too, had marketed it as a thriller rather than as horror.

With so many teen thrillers taking the route of bad, sensationalist horror, it's nice to see a standard suspense vehicle come out once in a while, with better characterizations and fright earned through putting characters in potential jeopardy, rather than just cheap jump - scares and shrill music.

Some people might call this a clone of Paranormal Activity, except playing out as a thriller instead of a found - footage tape, and with aliens as the home invaders rather than evil spirits.

This cunning literary thriller from Roman Polanski intrigues rather than wows at the 2017 Cannes Film Festival.

A hard - bitten group of robbers target the Federal Reserve Bank in an L.A. heist thriller that features Gerard Butler and O'Shea Jackson, Jr. 50 Cent is their co-star rather than the amount of money they get away with.

The film shifts between thriller and drama, and it might have been better if it had gone for one or the other, rather than straddling both with only a modicum of success.

Those who remain, however, will discover a satisfyingly convoluted revenge thriller in which the dynamically staged, blood - drenched action sequences are a highlight rather than the film's sole raison d'être.

I thought Vantage Point looked like a pretty decent thriller from the trailer - quite refreshing to see actors of a certain vintage in a film like this, rather than a bunch of kids - but reviews suggest my enthusiasm was possibly misplaced (I'll get to make my own mind up soon enough).

The look and feel of the film are sterile, with another thriller that seems to lack personality and the human element, merely pushing forward the incessant need to play the audience, rather than to tell a story.

Collette's most recent outings (Little Miss Sunshine, In Her Shoes, The Last Shot) have been fairly disappointing (due to the films rather than her performances), and it's interesting to note that she was in the thriller Like Minds right after this.

But rather than go down the path of political thriller or straight biopic, Arash Amel's melodramatic script stumbles, ungracefully, under its unsubtle load.

Imitating the Bourne capers rather than establishing an identity of its own, «The Take» is a strictly by - the - numbers political thriller that fails to capitalize on Idris Elba's formidable screen presence.

Yet, the film plays out with little sense of requisite suspense that made the first Psycho such a great film, and many of the scenes, including the murders, play out as if they were made for a psychological drama, rather than in a scary horror flick or tense, nail - biting thriller.

Like Paul Greengrass's United 93, whose purpose was to stylishly simulate rather than make sense of the events aboard United Airlines Flight 93 on 9/11, The Impossible uses the tropes of countless horror films and thrillers before it to craft a this - is - what - it - was - like theme - park attraction.

Packed with cliches, there's nothing remotely original about this East London crime thriller, which seems to be based on other similar movies rather than an original story or characters.

Very much a slow - burner rather than action thriller, the film commences with a young girl walking home after spending the night at her Aunt's house.

It's a romantic thriller that for the most part keeps the violence confined to words rather than blows.

An adaptation of the Nobel Prize - winning author José Saramago's novel «The Double» (and not the thematically similar Dostoyevsky book of the same name which confusingly, features elsewhere on this list) this psychological thriller sounds a little bit more damaged and arthouse than Villeneuve's aforementioned studio film and given uncompromising nature of that picture, we're rather psyched to see how «Enemy» turns out.

Although billed and marketed as a comedy, I feel the need to warn some viewers that The Ice Harvest is more of a thriller with dark comic touches rather than one that goes to tickle your funny bone.

eventually descends into insanity, it's quite understandable that Paramount took the step of hinging much of its promotion on the film's early scenes, which at first indicate a sinister home invasion thriller rather than a maddening biblical allegory.

The movie is more of a character study rather than suspenseful thriller.

The main carryover from Woo's Hong Kong thrillers is the elegant sense of craft in his articulation of action sequences, though the degree of stylization is much less: Woo specialties, like slow motion, tend to be restricted to short individual shots rather than taking up whole sequences.

Despite its attempts to construct itself as a crime drama and psychological thriller, rather than exploit a pontificating agenda to appeal a more balanced audience, Captive remains an unsatisfactory account of a notorious real - life event that made headlines around the world, owing to the phenomenal spiritual awakening of a cold - blooded murderer and rapist.

Since attracting rather a lot of attention, and some well - earned praise, from the film scoring community after writing an effective score for John Frankenheimer's enjoyable thriller Ronin (and replacing no lesser figure than Jerry Goldsmith on the film), it seemed that Elia Cmiral was destined for big things.

I should focus on what is here rather than what isn't — and that's an accomplished modern action / thriller score with western elements and lots of valentines to James Horner fans — with one or two standout moments.

In a brave move, the script has Walter almost immediately tell his wife and son of his conspiracy - laden suspicions, but rather than alleviating the usual thriller frustrations this just opens up a whole lot more inconsistencies.

The romance works rather better than the thriller element, as the plot becomes so convoluted and melodramatic it gets rather silly and never seems to be sure whether to takes itself seriously or not.

Given that there are multiple scenes in which you could cut the tension with a knife, it actually might be best to think of the film as a thriller with horror elements rather than as pure horror.

Though it's notable that Cronenberg's crime - thriller ends with a life being saved rather than a reassuring death, Eastern Promises rarely attempts to subvert the constraints of its genre.

Often easygoing rather than a threatening person, it takes away the thriller value of the film.

He's more interested in making a horror film rather than a psychological thriller.

With a more conscientious budget and featuring comedians rather than dramatic actors, can Game Night pull off a low - budget thriller played for laughs while suspending disbelief?

The handling of the BDSM sex play is dreadfully cliched in terms of structure (3 heated romps and a final dramatic one); however, the actual presentation of the «love scenes» recalls the style of director Adrian Lyne (Unfaithful, Nine 1/2 Weeks), favoring artsy close - ups of human form, curve and the intimate sensations of touch, feel and response, rather than the raw carnality seen in something like Basic Instinct (my generation's landmark erotic thriller movie).

This low - budget «retro - futuristic steampunk thriller» from filmmaker Vladan Nikolic — credited as «experiment supervisor & creator» rather than director — resembles Darren Aronofsky's debut feature, «Pi,» complicated by its intercutting of two separate narrative time streams.

It's a relief, too, to have a Hollywood thriller that gains volition as it goes along, rather than sprint out of the gate, not that The American doesn't begin with a bang, or have numerous shots of George Clooney pointing a gun.

The intrigue in the premise of The Barber gets lost in this low - budget thriller's preference to surprise rather than engage.

Rather than take us into the usual political intrigue thriller, Ramsay puts emotional weight on those who carry the burden of fulfilling the violence needs and retribution such crimes demand.

Speaking to IGN, director Francis Lawrence talked about making a spy thriller that focuses on character rather than plot:

How everything is set up, the story feels more like an action thriller rather than a raunchy comedy.

The writers who were brought on board — writers who have been responsible for Michael Clayton, Breach, The Bourne Ultimatum and Lions for Lambs, some of the greatest political thrillers of the past few decades — put together a simple, fluid and admirably neat screenplay which underplays every plot twist and allows the audience to be led by the story and enjoy the ride, rather than the expected Hollywood sucker punches.

Jeff Nichols» retro - tinged science fiction thriller Midnight Special looks like the type of film you don't want to know too much about before you see it — which means the tidbits we've gotten (a poster, an early trailer, one thrilling clip) are tantalizing rather than being especially revealing.