Sentences with phrase «used in horror films»

We have all heard of the concept used in horror films of aliens invading our bodies and minds, such as in movies like Invasion of the Body Snatchers.

Not exact matches

It has been hailed as one of the most important films in recent years, for its frightening use of mystery and horror elements to look at racism in America.

«Quiet on the set» took on new meaning in John Krasinski's horror film, which used a less - is - more approach to its unusual sound design.

The use of the chador in Under the Shadow is one example of how the film successfully manages to be both a serious reflection on the position of women in Iran and an intensely creepy horror film.

An intelligent and scary horror film that makes a more than welcome commentary on the horrors of war and gender oppression in Iran, using a lot of symbolism and keeping us in an increasing state of anxiety as it moves in a deliberate, slow - burning pace towards a terrifying climax.

The lack of a convoluted motivation felt that much more terrifying, a tactic also used in 2006's Them and 2016's Hush, maybe because the indiscriminate nature of the violence makes us all feel unsafe and maybe because, as many classic horror films have shown, the less we know, the more terrifying it can all seem.

The Diving Bell and the Butterfly) that do indeed provoke some inquiry towards the subject of dying and the boundaries of morality - but this film does none of that, Haneke's objective here is no different than in Funny Games: he simple wants to use the shock value to prove that we are captivated to a sickening extent by watching horror unfold before us.

Its terribly exploitative in using the decrepitude of death to scare the viewer and shatter his resolve - the same way lesser horror films use tactics like gore and startling noise after lulling the viewer to boredom.

Bassett uses lots of filtering and camera tricks to try and hide the budget of the film and it hurts the horror and ruins what little suspense is featured in the film.

It's a point of pride with any horror film, or any thriller verging on horror: Used correctly, a perfectly innocent song suddenly sounds like the scariest bleep in the world.

I also don't find it inordinately scary, but it is well created, especially in its use of sound to create tension, which is more than one could say about most jump - scare dominated horror films released in theaters today.

While largely avoiding the Twilights and Divergents of the world, he's made interesting career decisions, weaving horror and indie films throughout his comedy roles, and largely using social media in a much more subversive and less thirsty way than some of his peers.

FSR's Brian Salisbury said in his review: «I loved this film... The genius of The Loved Ones is that it knows how to use over-the-top horror elements to provide the necessary safety net for the tightrope walk between shock and entertainment.»

John Carpenter created one of the best horror films in history in 1978 and it has been used as the basis and inspiration for many projects.

The joy of What We Do in the Shadows is that it's not so much mocking horror films so much as it is using characters whose traits are relatively well - known throughout all forms of media for centuries.

While using every horror movie cliche in the book, this film cleverly tells a bracingly original story that will have genre fans squirming in their seats.

I'm starting to notice a trend in indie horror movies today - With the shots being perfectly set up and the very little use of light that really adds to the atmosphere to this film.

James DeMonaco also used the horror genre to prop up his career with his second film, «The Purge,» and should note the efforts from second - time filmmakers Hannah Fidell («A Teacher») and Jeremy Sauliner (festival fave «Blue Ruin,» coming in «14).

The Saskatchewan team behind the horror - comedy Wolf Cop take part in CineCoup's weekly challenges as they attempt to gain attention and fan votes on their film's two - minute trailer using social media platforms — to find out more about this wicked little flick just click here.

The horror - film tropes resurface only intermittently in their later films: a hand bursting out of the ground, recalling the final shot of Carrie, during the prison break in 1987's Raising Arizona (a shot also used in The Evil Dead); the wood chipper that in Fargo (1996) is put to the grisly use that Marty had intended for his incinerator; Anton Chigurh's slasher murders in No Country for Old Men (2007); and, most acutely of all, in Barton Fink (1991), a film about a writer's worst nightmare, writer's block, complete with sweating wallpaper, expanding plumes of blood, and a hellfire climax.

Back in March, we informed you that the gas station used in Tobe Hooper's classic 1974 film The Texas Chain Saw Massacre would be becoming a horror BBQ resort.

It's rather interesting to note that Warner decided to market the film, much like Hitchcock would have probably done, by using a simple yet highly effective warning to all future audiences that the lights in the theaters would be toned down during the ending sequence, promising a fully immersive experience of pure horror.

Where Perfect Blue is the first film in decades to use Hitchcock correctly in a sentence, it still fails for the most part to jump from horror to hilarity on the turn of a heel, making its story of an actress being stalked by a doppelgänger brilliant, no question, but also relentlessly grim.

Since it is the one scare tactic featured most prominently in horror films today, it seems to be the litmus test audiences use to determine whether or not a horror film is actually scary.

I was used to Craven giving me films like «Nightmare on Elm Street,» and this simply wasn't going to cut it in terms of horror.

Cabin in the Woods is the kind of film you would love if you, like me, were introduced to horror by your older brother — 10 years older — and a well used copy of John Carpenter's The Thing.

I rolled it over in my mind a few times before I came to the conclusion that the film takes on sexual repression as its subject, and uses it as a kind of horror film without actually embracing the horror genre.

While it may not quite make it into the Gremlins strata of holiday horror classics, its liberal use of real performers in special make - up and costumes, as well as practical effects did warm my cold heart and gave me a bit of a nostalgic glow for those films with which I grew up.

And there just seems to be an elegance to this film you don't get in most horror films; the soundtrack, the wardrobe, the use of technology.

But in thrillers and horror films, when used effectively, sensory deficiencies serve to substantially ratchet up tension levels.

I used to believe that horror films should never go anywhere near two hours in length simply because the material seems to never extend that far.

Ito once again uses great angles and dramatic lighting effects, evoking horror elements with lighting that you wouldn't normally see in this type of genre film.

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.

Starring Hemlock Grove's Kaniehtiio Horn — a First Nations Mohawk who grew up on the Kahnawake Reserve — as a Mohawk woman driven to violence by soldiers» assault on her family and her ancestral home in early 19th - century New York, the film engages with the horrors of American history in an uncommonly blunt way, using them to tell a tale of supernaturally tinged revenge.

Oz Perkins delivers a creepy and contemplative debut with The Blackcoat's Daughter, a horror film with familiar devices used in unexpected ways to establish its tone.

Whatever the reality, the film is memorably scary, at times feeling almost like a checklist of horror iconography: spooky kids, creepy clowns, skeletons, ghosts, gore, Indian burial grounds... Shot in pre-CG times, one can only wonder how much invisible string they used for all the flying furniture.

Edgar Allan Poe's Black Cats: Two Adaptations by Sergio Martino & Lucio Fulci (Arrow / MVD, Blu - ray + DVD) pairs up two Italian films that use Edgar Allan Poe's «The Black Cat» as a foundation for bloody horror but otherwise have little in common.

In 3rd position used to be some other new opener in Blumhouse's «Truth or Dare,» a horror film that opened on Friday the 13th and earned $ 18.7 millioIn 3rd position used to be some other new opener in Blumhouse's «Truth or Dare,» a horror film that opened on Friday the 13th and earned $ 18.7 millioin Blumhouse's «Truth or Dare,» a horror film that opened on Friday the 13th and earned $ 18.7 million.

Raimi has been immersed in horror films for so long that he (along with his writing partner, brother Ivan) uses them in the movie to tell a feature - length joke that true horror fans will understand... and find hilarious.

The horror components of the film are not particularly noteworthy, though the use of the animal masks is visually striking, especially in the way the red blood splatters over their harsh white as the arteries begin to open.

(Interestingly, Flanagan declines to use musical cues in the film's horror sequences, letting silence build the dread instead.)

The fact that he previously specialised in horror films is put to good use here, and if anything his harsh, industrial work reminded me of Brad Fiedel's Terminator scores.

Enter a masked man ready to launch his pick - axe straight at you in the fun My Bloody Valentine 3 - D, which makes great use of the 3 - D format in a better than average horror film.

I have a big problem with the newer horror films only using loud noises in the dark to scare its audience.

The film should get props for the best use of a baby monitor in a horror film since Signs.

Visions may lack some of the atmosphere of Jessabelle, which used its Louisiana locations to great effect, and Fisher lacks the compelling, quirkier presence of the earlier film's Sarah Snook, but Visions serves as further evidence that Greutert is one of the most interesting mainstream horror directors around — I can easily see a The Conjuring - style success in his future — and that despite its many diminishing - returns franchise films (Paranormal Activity, Sinister, Insidious, et al.), Blumhouse is far from running out of ideas.

But McPherson isn't really interested in making a horror film; he's merely using the genre's tropes as part of an adult romance about accepting tragedy and moving on.

Director Tobe Hooper uses broad daylight to matter - of - factly show horrors that earlier films kept in the shadows and darkness.

In watching the film's physical and psychic violence unfold across the screen, however, you never sense that McQueen is trying to show off his filmmaking virtuosity or use these realistically re-created historical horrors to, say, add an edginess to a pseudo-cool pomo exploitation film (no names mentioned).

By Adam Frazier Hollywoodnews.com: With Matthijs van Heijningen Jr.'s prequel to John Carpenter's «The Thing» now in theaters, we decided to look at three horror films that could use a bit of the old retroactive storytelling treatment.