Sentences with phrase «subgenre as»

As for launching your own subgenre as Brinks suggests, that's a tough road unless you have a major national advertising campaign to get the buzz words out to the masses.

WHY: There's a reason why there aren't many comedy Westerns, and even fewer that are any good, and that's because the subgenre as a whole is very difficult to pull off.

The explicit shift to centering an entire film on the heist, which gained notoriety with films like Rififi, The Killing, and Asphalt Jungle, cemented the subgenre as one of our most beloved kind of crime film.

Even back then, some bookstores struggled between shelving it in «horror» or «fantasy,» let alone such subgenres as «high fantasy» or «dark fantasy.»

Not exact matches

And we will not discuss at length the merits of Christian spoken word as a subgenre (perhaps another time).

It's all part of a growing subgenre of ethnic cuisine (see: Mission Chinese Food and Mott St) that, when executed with passion and skill, rewards the pleasure center of the brain just as much as some preciously foraged $ 100 tasting menu.

2018-04-08 12:34 Dating is a stage of romantic relationships in humans whereby two people meet socially with the aim of each assessing the other's suitability as a Dating sims, or relationship simulation role - playing games (RS - RPG), are a video game subgenre of simulation games, usually Japanese, with romantic elements.

Nick Jenkins finds himself back in the single scene as his Dating sims, or relationship simulation role - playing games (RS - RPG), are a video game subgenre of simulation games, usually Japanese, with romantic elements.

Taken on its own terms, it works quite agreeably as a visceral blow to the breadbasket, with one of the most outrageous and apocalyptic final scenes in the entirety of the subgenre.

The tenets of GnS, as a subgenre: A facile, default, entirely unearned cynicism that attempts to pass itself off as irony.

As the lead characters tried to decide if they loved or hated each other, the series established itself as a prime example of the «will they or won't they» subgenre so popular in 1980s TAs the lead characters tried to decide if they loved or hated each other, the series established itself as a prime example of the «will they or won't they» subgenre so popular in 1980s Tas a prime example of the «will they or won't they» subgenre so popular in 1980s TV.

The eerie early scenes fade into standard space horror panic and given how crowded that particular subgenre is, The Cloverfield Paradox emerges as a pale imitation.

As the latest installment in what has become its own subgenre at this point, The Commuter serves as a fine example of the kind of tightly - coiled thriller that Neeson and Collet - Serra can do together in their sleeAs the latest installment in what has become its own subgenre at this point, The Commuter serves as a fine example of the kind of tightly - coiled thriller that Neeson and Collet - Serra can do together in their sleeas a fine example of the kind of tightly - coiled thriller that Neeson and Collet - Serra can do together in their sleep.

The Haunting is a superior ghost story that still doesn't overcome the stumbling - block of the whole subgenre: if there's any chance for a rational explanation for weird events, anything non-supernatural is as least as credible as the supernatural conclusions everyone is so fast to embrace.

I wouldn't go so far as to say it's a good film overall, but given its relatively low aims, and for its subgenre, it is an entertaining one, though some might be disturbed at a few of the grislier narrative turns, especially at seeing a loving family torn apart, quite literally.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

As a result, Tales Of Halloween is unusually consistent in tone with few missteps, while spanning subgenres from straightforward ghost story to claymation splatter - comedy.

No, Bell's latest isn't on a par with Gina Carano's «In the Blood,» but it still qualifies as a fun twist on the warrior princess subgenre.

The World's End doesn't lean as heavily on one subgenre, which enables it to be more original and unpredictable but also less hilarious.

As it stands, the film's approach hovers halfway between a conscientious community mosaic — of the type John Sayles excelled in at his peak — and a more linear issue drama of the «A Civil Action» variety, though it lack the specificity of character and process, respectively, that marks the best films in either subgenre.

As that appellation suggests, this is an aquatic thriller, joining the horror subgenre that began with and is still best represented by Jaws.

The master of the specific subgenre called body horror and the man who put out such classics as Dead Ringers and Videodrome, the Canadian filmmaker David Cronenberg seemingly stepped out of his (dis) comfort zone and delivered one of the best movies of the first decade of this century when he made the film cleverly and multilayeredly called A History of Violence.

EXPECTATIONS: Park has shown his vitality by tackling different subgenres before, such as with his narratives on vengeance, or even vampires (Thirst).

Taking several pages from the ubiquitous superhero subgenre that currently rules the multiplexes, writers Matt Sazama and Burk Sharpless have positioned the latest take on Bram Stoker's infamous bloodsucker as an origin tale with the titular character as the protagonist.

Another entry into the profitable Brit subgenre of OAPs - find - a-new-lease-of-life, Simon Hunter's film is marred by contrivance and predictability but gets by on a feel for life's missed opportunities, a good heart and a strong central performance by Hancock as a woman finally realising her taste for adventure.

«The Invitation» might be labeled as a horror film, but it far better fits the prodigious «mindfuck film» subgenre label, following the likes of «The One I Love» and «The Gift» in recent years.

It comes as a bit of a surprise that, with so many recent horror films aping off of different subgenres from the past, no one has really attempted to tackle the creature feature.

The references have ranged from thematic to blatant — as in, literal writing on the wall — and they span several horror subgenres, from old slasher movies and Japanese horror to mid-aughts-style torture porn.

remains the high - water mark of the genre, encapsulating everything that makes the subgenre so endearing while working as an inspired creation unto itself.

As a result, it's easily one of the subgenre's best entries to date and one that, in some ways, is preferable to Monster Hunter.

To give the film some credit, I appreciate when anyone — even unintentionally — pokes fun at society's reality TV obsession, but in this case the mashing of two well - worn horror subgenres only makes it twice as annoying that the film couldn't do either of them well.

An iconic use of the haunted - doll trope, this Alberto Cavalcanti - directed tale of a ventriloquist and his seemingly sentient (and malevolent) dummy has stood as a touchstone of the subgenre — everything from the Anthony Hopkins - starring Magic to recent offerings like Annabelle owe the British horror sequence a debt.

Director Wes Ball delivers some great action set pieces, and the cast of young actors remains one of the series» best assets, but «The Death Cure» is far too bloated and predictable to serve as the rousing finale that everyone involved clearly intended it to be, hopefully marking the end of this lackluster subgenre for good.

What they find in there is both easy to figure out (stuff is mutating), beautiful and scary and weird (stuff is mutating) and inexplicable (most of the why and a bunch of other side mysteries), explored in a mostly unsatisfactory blend of arthouse stillness and genre thriller scares, part of a burgeoning subgenre of sci - fi films that I suppose function as a counterweight to the more populist nonsense of superhero sc - fi.

Lonesome is all about the city as labyrinth, a part of the city symphony subgenre of films in the late 20s and early 30s (Man with a Movie Camera, Berlin: Symphony of a Great City, À Propos de Nice, People on Sunday, even Sunrise: A Song of Two Humans) a time of rapid urbanization throughout the Western world.

Better Watch Out Chris Peckover, USA / Australia, 2016, 89m Encompassing three great traditions of horror — the Christmas, home - invasion, and babysitting subgenres — Better Watch Out is a twisted and twisty mash - up of dark delights as filtered through the lens of an»80s teen comedy.

Southpaw borrows plenty from other, better films, especially Rocky and Raging Bull, so it's not likely to be considered in the upper echelon of a subgenre that has produced movies worthy of Best Picture nods, as with Million Dollar Baby and The Fighter in more recent years.

Despite the film's ugliness it has gone on to influence countless other movies, in particular those in the subgenre that can now be defined as «outback survival», such as Picnic at Hanging Rock (Peter Weir, 1975), Mad Max (George Miller, 1979) and, more recently, Wolf Creek (Greg Mclean, 2005).

Swanberg's inclusion is a notable one, as the film has been referred to as helping to establish a new (and somewhat on the nose) subgenre that mixes the low budget and improvisational style of mumblecore with the horror setting («mumblegore» if you will), and the conversations here take on a casual, loosely scripted feel that would not seem out of place in a film like Computer Chess or The Puffy Chair.

and Abel Ferrara's Ms. 45; the latter is practically a spirit animal to this French take on the subgenre known as the «rape revenge» movie.

His»90s indie drama The Wackness received lots of praise, as did his cancer comedy 50/50, and he even managed to find new life in the paranormal romance subgenre this year with Warm Bodies.

Dynasty Warriors 9 is the latest game in a sweeping subgenre of 3D brawlers where you play as historical figures from 2nd and 3rd century AD China during the fall of the Han Dynasty and the ensuing civil war.

Not as daring as that abortion rom - com (a very narrow subgenre), this one has Manhattan sisters Slate and Abby Quinn sorting their own problems while their parents (John Turturro, Edie Falco) go through a rough patch.

«The Collection» may have been inspired by the 1967 thriller «Wait Until Dark,» as the publicity materials claim, but it hardly strays from the torture subgenre of the «Saw» franchise.

The hapless - hero subgenre of comedy has been around for decades, serving as a springboard of funny situations for actors such as Buster Keaton, Harold Lloyd, W.C. Fields, Bob Hope and Danny Kaye.

The Winter Soldier holds to the oft - bemoaned «Marvel structure» while thriving as a film firmly rooted in the spy thriller subgenre.

As far as exorcism flicks go, this one did not have the power of its predecessors within the subgenrAs far as exorcism flicks go, this one did not have the power of its predecessors within the subgenras exorcism flicks go, this one did not have the power of its predecessors within the subgenre.

As a subgenre, it's hard to find a possession / exorcism film that stands out.

If last summer's «The Conjuring» offered possession stories their classiest entry in decades, Mike Flanagan «s «Oculus» lends elegance to haunted object movies, a subgenre distinguished by such dubious classics as «Death Bed: The Bed That Eats.»

«Torture porn» may be the better description, a horror subgenre that came into prominence after the sleeper hit known as Saw, which emphasized (and exploited) both the emotional and physical agony of its characters to manipulate audience reaction.