Sentences with phrase «sort of thriller»

Strong supporting characters, uniformly solid writing, occasionally too macho, but with enough heart to back it up, this was the sort of thriller that actually thrills.

(It seems mandatory for the mutilated bodies in this sort of thriller to be discovered in wide - open snowy, piney terrain, for maximum pathetic - fallacious contrast, presumably, between the unnatural crime and the lovely innocence of nature and the American landscape.)

Among them is Kelly Reichardt, who's gone from low - key dramas «Old Joy» and «Wendy & Lucy» to semi-Western «Meek's Cutoff» to «Night Moves,» which appears to be a sort of thriller, or as close to a thriller as Reichardt can come.

Eli Roth's latest, Knock Knock, marks the director's first - ever premiere at the Sundance Film Festival, and according to the director, it also «marks a turning point» in his career, shifting from the gore that's defined his horror work to a more psychological sort of thriller.

Michael Pearce's Beast is a quiet sort of thriller, a dark and disquieting mystery with its most pressing drama roiling beneath a comparatively placid surface.

This is the sort of thriller that constantly sideswipes you with dream sequences and hallucinations, but if you're willing to go on Ozon's ride, it's an unpredictable journey.

This is the sort of thriller book that I enjoy.

Not exact matches

Enjoy reading all sorts of things but have a fondness for mystery and thrillers.

There's no denying that when George Clooney wants to be an «artist,» he's more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «thriller.»

We get a thriller, of sorts, and a crime movie, of sorts (Romain Duris, as a kidnapper, gives the most appealing performance).

James McTeigue's Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.

Thomas Jane and Laurence Fishburne in a very different sort of faceoff, of post-military conflict damaged souls in this PTSD psychological crime thriller.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

Steven Spielberg's best thriller since Jaws, and his most «of the moment» movie ever, The Post is also an unexpected sort of «coming of age» tale.

Wonderfully directed and beatifully acted, (especially by Kidman), the plot, which wants to be a sort of understated thriller, never quite hits the right notes.

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

Such concerns become moot once the picture passes a certain point, however, as Death Wish transforms into just the sort of unapologetically ruthless and violent thriller that rarely gets made nowadays (ie its very existence is a delightful novelty)- with the movie's second half boasting a series of gleefully over-the-top instances of R - rated mayhem (including an awesomely cringeworthy torture sequence involving a scalpel and battery acid).

The thriller, which screened at the 2016 Berlin Film Festival and at SXSW last week, centers on a familiar genre storyline: a hero tries to protect a young child with amazing powers (usually messiah like in some way) from all sorts of conspiratorial forces (secret organizations, government agencies, etc.) that mean to use him or her for their own nefarious intentions.

I surprised myself by being on the «loved it» side, because usually I have no tolerance for silliness within thrillers, and typically my base requirement is that they have to make SOME sort of sense.

About half way into John Hillcoat's impressively staged heist thriller Triple 9, it becomes apparent the audience won't be allowed to develop any sort of sympathy for any of its various characters, a pity considering the potentially rich subtext.

French director Pierre Morel more or less started the «aging action star» trend with Taken, and now he's giving Sean Penn the «Neeson» treatment with The Gunman, an international action thriller that unfortunately won't be Penn's springboard into genre superstardom because frankly, the movie's sort of a bummer.

Robert Redford's The Company You Keep sounds like another sort - of interesting conspiracy thriller.

That said, as an efficient, low - stakes thriller, A Patch of Fog comes recommended, mainly thanks to the showcase it provides for its leads: two reliable character actors given a chance to headline a psychologically probing battle - of - the - wits, something usually reserved for bigger movie stars, when this sort of film had an easier time getting funded in the current landscape.

Those heist thriller - comedies boasted the sort of superstar roster that red carpet show producers would still trade limbs to secure, led by George Clooney, Julia Roberts, Brad Pitt, and Matt Damon.

Set in the covert world of Russian sex spies, this tough - to - categorise thriller contains the sort of brutal violence, sexual assault and state - sponsored torture that would never make it into a family - friendly blockbuster.

However, that sort of straightforward approach present all throughout The East, while coherent, consistently hinders the film from excelling into anything more than a well - crafted and cogent thriller (which, admittedly, we're in short supply of these days).

A neo-noir of sorts, Wild Canaries is a competently complicated thriller with lots of humor and great performances by all involved.

In general, though, the house style of the franchise (clean, pared - down visuals made kinetic in the editing room) lends itself supremely well to this sort of mundane thriller, where the action only ever alternates between chases on foot and in cars.

Nevertheless, it does retain a small cult following, and can even be seen as a precursor of sorts to such films as the horror flick Event Horizon and Danny Boyle's dying sun thriller, Sunshine.

Recapitulating the cliché that has come to attend stories of this sort, Jeremy Saulnier's sophomore feature is a superbly - scripted affair, melding vengeance with veracity to give a thriller that's efficient for how far from taut it is.

Fortunately, we've got a reasonable mix of this sort of dreck alongside several very interesting looking thrillers with solid ensembles.

She is not the sort of actress you would expect out of a high tension spy thriller; she has a quiet, waifish and maternal look to her, and doesn't have the screen presence of an action star or a hard boiled spy.

Marking the return of «The Maid» director Sebastian Silva (who won the dramatic jury prize at the festival in 2009, and who also helmed «Crystal Fairy»), it seems to be a heady and picturesque sort of psychological thriller which, with cinematography by Wong Kar - Wai «s legendary DoP Christopher Doyle, should look pretty stunning.

It is precisely the sort of attitude that absurdist thrillers should be produced with; Salt and others should take note.

, The Pool fancies itself some sort of thoughtful thriller perhaps, or digest of youth gone hedonistic in the economic boom following the introduction of the new European economy.

The Wages of Fear immediately attracted massive international attention and was widely influential: Violent Road (aka Hell's Highway), directed by Howard W. Koch in 1958, and Sorcerer, directed by William Friedkin in 1977 (ironically, the year Clouzot died), were American sort - of remakes that utterly failed to reach the tense brilliance and visual muscle of the Clouzot original, a work that brought him international recognition, and immediately landed him the gig of directing his most successful thriller: Les Diaboliques (1955).

It had more pizzazz than anything else that seems like a Best Film of the season, it managed to be explicitly about movies without violating its trajectories as a first - rate genre film (thriller), it was rife with the best, least slavish sort of hommages, and it tapped into the moods and mannerisms of other cinéastes like Nick Ray, Hitchcock, and Hopper without for a moment ceasing to be Ein Film von Wim Wenders.

Hand of God is a dramatic thriller written by Ben Watkins (Burn Notice) and created by Marc Forster (World War Z) and stars Ron Perlman as a judge who believes God is telling him to sort the corrupt city out.

Frankly, I'm very tired of these sorts of wackos on the loose thrillers and this one offers no new twists on the genre.

«There's some sort of taboo about male nudity and I don't see a problem with it,» Bolger tells ETonline while promoting the Tribeca Film Festival debut of her new thriller Emelie.

If you grew up as a horror film fanatic in the 1980s, you may have run through most of the American slasher flicks and occult thrillers — and then you rented Lucio Fulci's 1980 cult favourite Zombie, which hopefully led you to all sorts of gore - laden apocalyptic mayhem from Italian splatter - slingers like Umberto Lenzi (Nightmare -LRB-...)

What follows is, on paper, standard horror - thriller stuff: our heroes trapped in a confined space with all sorts of evil - human and canine.

Of course there's some fun along the way, but a track like «An Unpleasant Incident Involving a Train» could come out of some sort of horror thrilleOf course there's some fun along the way, but a track like «An Unpleasant Incident Involving a Train» could come out of some sort of horror thrilleof some sort of horror thrilleof horror thriller.

«The tone that I was basically looking at was the Ira Levin tone, this sort of 60s, early 70s, unfolding thriller vibe that doesn't beat you over the head, but sort of a «Rosemary's Baby» or «Stepford Wives» vibe.»

There's no high concept here or need for a third act twist, it's just a gritty, balls to the wall action thriller very much in the vein of the sort of revenge themed films of the 70's.

Directed by Vaughn Stein, the thriller follows two assassins on a mysterious mission in sinister city, where they run into all sorts of kooky characters, including Robbie's beguiling waitress who may or may not be a serial killer.

A sequel of sorts arrived in 2016 with 10 Cloverfield Lane, a Twilight Zone - like thriller only vaguely connected to the original film.

Old - fashioned though it may be, in this era of con men thrillers predicated on the notion of playing the audience with twists or trying to entertain us through adrenaline - charged action and quirky, comedic dialogue, it's a refreshing sort of throwback to character - based crime dramas of yesteryear.

A low - key crime drama / thriller 44 Inch Chest, according to those who have seen it, brings profanity to a some sort of new level.

Part rejected network pilot, part Michael Crichton-esque what - if, the clumsy, cheap - looking sort - of thriller The Crash presents a very near future in which the U.S. government secretly enlists a white - collar crook from Chicago named Guy Clifton (Frank Grillo) to put together a team of hackers and analysts who can stop an imminent computer attack on the stock market.