Not exact matches
Nonetheless it is remarkable to find these ancient authors employing all the modern devices of the literary craftsman, surprise and
suspense, rapidity and delay, humor and solemnity, vividness, realism, untempered callousness, dramatic shift of
scene — all permeated with their feeling
for what is intrinsically interesting, what makes a good story.
Thanks to a layered performance by Franco and director Rupert Goold's willingness to let him play silent moments
for maximum tension, «True Story» continually surprises you with
scenes in which
suspense creeps into casual
scenes and makes them something else.
There are some creepy
scenes of the movie but there really isn't anywhere near enough
suspense and terror
for this to be a horror movie.
[*** SPOILERS ***] movie would be better if they left out the first
scene revealing that cruise would be captured by the bad guy at the end therefor reaveling that no matter what he did durring the movie you knew
for a fact that the bad guy would not die untill that
scene was compleate and so in all the
scenes there was no
suspense, you also already knew he would not get to his wife in time and she would be eventualy captured just like hoffman claimed he would do.
I was pretty much right — his homely lullaby
for Eleanor (Lily Taylor) was appropriately innocent, and his creepy theme (with full strings)
for «the house» provided just the right amount of ominous
suspense and foreboding in the
scene that it was used.
But there's not a lot of
suspense about where the movie might go, even
for the uninitiated, because the out - of - order opening
scene blatantly establishes that Wimbledon will come down to these two contenders (lest one fear they have to pay any attention to any of the matches leading up to the finals).
A rape
scene with Hill (although uncomfortably played
for laughs) provides a wonderful Rosemary's Baby reference, and the
scenes where they must contend with demonic monsters still work as moments of
suspense.
For instance, De Palma's prom
scene, which features tense, split - screen moments of
suspense, is replaced with cheap snafus that culminate in the climactic moment being replayed from different angles no less than three separate times, in case we missed its significance.
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.
Director David F. Sandberg milks each
scene for maximum
suspense, creatively framing the film's scares to devastating effect.
If there's no
suspense in whether or not Cash and June will get together, a measure of discomfort in the beating Cash's first wife Vivian (Ginnifer Goodwin) takes
for reacting reasonably to her husband's philandering and pill - popping, and some disdain
for the coy trainspotting of songs, George Lucas In Love - style, throughout (June cries «burns, burns, burns» at one point and accuses Johnny of being unable to «walk the line» at another), at least there are a couple of moments like that 5 & Dime
scene that let the cast out of a certain straitjacket.
One thing that Wan is notorious
for is always bringing in plucky comedic characters during points where the
suspense is building, but only ruin the
scene.
That said, Denise Di Nova manages to deliver some
suspense in some of the
scenes, but the film can't quite manage to work out whether it is playing
for laughs in terms of black comedy, or completely straight.
A really great musical score composed
for any given movie can elevate the story by bringing out the
suspense and tension in any given
scene.
Director Roar Uthaug («The Wave») piles on the flashy CG set pieces, from a rickety plane dangling over the top of a waterfall to the various tricks and traps of the tomb, but they feel more like elements
for a snazzy trailer than
scenes that actually create
suspense or adrenaline.
This, all talk and barely any
suspense, drama has
scene after
scene of action star Neeson talking sternly and forcefully to members of the FBI as smoke suffices
for atmosphere in the 70's time - frame.
It should be warned that the graphic autopsy
scenes are probably not
for the weak of heart, though there is also some effective
suspense, and plenty of jump scares, in the latter half of the film.
Director Francis Lawrence, who made the decidedly mediocre Constantine, shows a true knack
for suspense here, as there are several
scenes which offers edge - of - your - seat tension.
He frequently works to make many early
scenes seem creepy or scary although it's too soon
for such
suspense.
There is a near fight
scene in the parking lot of a liquor store and a skinhead march gone wrong, other than that the film fails the
suspense it aims
for.
Each
scene creates an entirely new pocket of
suspense that, when combined with the film's unpredictable violent streak, holds the viewer's undivided attention
for the film's entire 2 hours and 20 minutes.
Kidnap (R
for violence and
scenes of peril)
Suspense thriller about a single - mom (Halle Berry) who turns vigilante after her young son (Sage Correa) is abducted by kidnappers.
Story elements and craft are evaluated
for strengths and weaknesses: character, setting, sensory and specific details, strength of opening
scene, tension and
suspense, point - of - view,
scene development, and pacing.
The historical narrative includes supernatural
scenes and creatures whose presence adds
suspense — even terror — and vividly deepens and enriches the novel's themes about the vital need
for storytelling, the strength of memories, the strong pull of family connections, and the catastrophic personal and social costs of war.
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By parallels, I mean
scenes that repeat something from the previous ones, or... Continue reading Make sure parallels pack a punch
for suspense →
Tara Wyatt is an award - winning romantic
suspense and contemporary romance author known
for her fast - paced writing, humor, and sexy love
scenes.
So I went through each
scene, specifically looking
for a way I could increase the tension and
suspense, raise the stakes and bring in the antagonists more.
1) Vertigo (1958) Alfred Hitchcock, the Master of
Suspense, set one of the key
scenes of his masterpiece — on the short list of films up
for discussion as the Greatest of All - Time — at Fort Point, now a National Historic Site in the heart of the Golden Gate National Parks.