Sentences with phrase «which most horror»

Without access to that one sense which most horror films rely on to convey fear, things have to get inventive.

Not exact matches

FX said 12 million people tuned in for the first episode of producer Ryan Murphy's (Glee, American Horror Story) series, which seems to have successfully reignited American viewers» obsession with one of the most high - profile criminal trials ever.

They need, however, to be challenged because the way in which Christians have heard the story of Jesus» passion has inflamed prejudice and hatred of Jews and has been a cause of persecution in every century — most of all in the horrors of the Holocaust.

And, oh, when the hour - glass has run out, the hourglass of time, when the noise of worldliness is silenced, and the restless or the ineffectual busyness comes to an end, when everything is still about thee as it is in eternity — whether thou wast man or woman, rich or poor, dependent or independent, fortunate or unfortunate, whether thou didst bear the splendor of the crown in a lofty station, or didst bear only the labor and heat of the day in an inconspicuous lot; whether thy name shall be remembered as long as the world stands (and so was remembered as long as the world stood), or without a name thou didst cohere as nameless with the countless multitude; whether the glory which surrounded thee surpassed all human description, or the judgment passed upon thee was the most severe and dishonoring human judgement can pass — eternity asks of thee and of every individual among these million millions only one question, whether thou hast lived in despair or not, whether thou wast in despair in such a way that thou didst not know thou wast in despair, or in such a way that thou didst hiddenly carry this sickness in thine inward parts as thy gnawing secret, carry it under thy heart as the fruit of a sinful love, or in such a way that thou, a horror to others, didst rave in despair.

It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest most uninteresting person you can talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship, or else a horror and a corruption such as you now meet, if at all, only in a nightmare.

It seems to me, nevertheless, that he suffered, at the hands of the BBC This World programme in particular, and the media in general, a profound injustice, and that this injustice was made possible only because it fed into a narrative which Catholics have endured over recent years for the most part without protest, so great has been their numb horror at the seemingly endless procession of abusive clergy who have been dragged from the shadows by police and media.

God doesn't make an appearance in most of King's stories, which is understandable enough: The horror genre requires the supernatural, but it doesn't require the divine.

Their most famous fan is a horror novelist, Stephen King, which makes sense: The Sox lose because dark forces are aligned against them.

The horrors of two global conflicts led to the breakdown of the formerly dominant class system in the UK, which had evolved from the earlier feudal system, carrying with it expectations of behaviour and achievement so rigid for each class that most people were unable to break free of them.

It is a sentence which almost always attracts gasps of horror from my fellow students and dons in Oxford, one of the most pro-EU cities in Britain.

I spend most of my time in the woods which helps me to find inner peace and escape from the horrors of this world.

The one I am most passionate for is for my event companies which produce some of the larger horror events in Northern California.

The two lead characters are effective and you root for them to live, which is the opposite of most horror movies, and the visual effects aren't bad either.

Most horror movie scores can not even compare to the show's theme, which someone managed to perfectly encapsulate all the ominous goings - on that the series explored.

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.

Content to merely spend time with its characters as they chat, bicker and strategize, the film comes off as a lackadaisical throwback oater until it reaches its climax, at which point Bone Tomahawk veers suddenly, shockingly into outright horror, replete with what may be the most chilling, unforgettable death scene of the year.

The black and white set for a creepy yet realistic feel making you visualize most of the gruesome and scientific aspects on your own; where as the John Carpenters The thing was a survival horror in which you can put yourself in the shows of the amazing R. J. Mcready (aka Kurt «Motherfucking» Russle.

While Saving Private Ryan excels at portraying the randomness of survival on a battlefield, and is easily cinema's greatest and most realistic achievement in depicting the uncompromising horror of war, it's not without its flaws, chief of which is a horribly sentimental coda in which an ageing Ryan — who is bequeathed a responsibility which would rest heavily on anybody's shoulders — visits the military cemetery in which some of his former comrades are buried.

Other than the PA series, most of the gags mainly involve The Conjuring, Insidious, Sinister, and The Possession, most of which are now a couple of years too old for anyone but the staunchest of horror movie fans to remember.

One of the most anticipated horror films in years is Robert Eggers» The Witch (read our review), which will be opening...

The film's obligatory seance scene, which could have been rehashed from past horror films, is given a unique twist and makes for one of the movie's most effective moments.

Low - budget horror fans will find little to complain about in the straightforward first half - hour, which stacks up an entertaining series of episodic mishaps — an overpowered Pec Deck machine pushes a guy's ribs out through his torso; ceramic tiles fly off the walls of a fully - occupied women's locker room as steam blasts out of the shower heads; and, in the quickest and most brutal tableau, an unfortunate patron gets a Friday the 13th - style arrow through the back of the neck.

Some of the film's more startling moments and visuals are the most effective and unsettling sequences I've seen in a horror film in recent years, which will be due in part to what personally unsettles me, but may have no impact on anyone else.

Most horror films today seem to put less of an emphasis on form, which makes I Am a Ghost such a breath of fresh air.

The film does leave us with a strong sense of mother - child love, which overrides most of the horrors.

There's very little jump - shock here, which is the stock - in - trade for most modern horror films, although a red - faced monster will no doubt be the draw for future sequels.

First and foremost, it's an incredibly effective thriller which can easily be called a horror film, more than suspenseful enough to keep you alarmed at all times, with one of the most compelling finales ever seen in cinema.

The most recent script was still based off O. Russell's version — which Gillespie had said has «a great mix of humor and horror» — which had a rewrite by Marti Noxon («Buffy The Vampire Slayer,» «Fright Night»).

This director runs circles around most of the filmmakers on our list; we're only placing Psycho near the bottom because its horror comes in just a handful of scenes (one of which all but invented the slasher).

Opening in September: Kirsten Dunst and Isla Fisher take a turn in the comic bridesmaid well in «Bachelorette» (Friday); Bradley Cooper is an author whose stolen work becomes a hit in «The Words» (Friday), a thriller co-starring Jeremy Irons and Dennis Quaid (see story on Page 17); Pixar adds another dimension to one of its most popular films in «Finding Nemo 3 - D» (Sept. 14); Milla Jovovich returns for one more zombie slaughter in «Resident Evil: Retribution» (Sept. 14); Jake Gyllenhaal and Michael Peña are Los Angeles cops in «End of Watch» (Sept. 21), which aims for a realistic look at inner - city law enforcement; Elizabeth Shue and Jennifer Lawrence are mother and daughter, discovering a horror - tinged secret in «House at the End of the Street» (Sept. 21); Karl Urban plays «Dredd» (Sept. 21), a helmeted avenger who cleans up the futuristic Mega City as its judge, jury and (wait for it...) executioner; In the animated «Hotel Transylvania,» Dracula (voiced by Adam Sandler) struggles to cope with his daughter's new non-vampire love interest (Sept. 28).

As EW points out, Wood is not only the former Frodo Baggins in The Lord of the Rings trilogy, but also has plenty of horror movie experience from both sides of the camera — as an actor in Robert Rodriguez's The Faculty and the excellent 2012 remake of Maniac, and as a cofounder of indie - horror company SpectreVision, where he has helped a diverse array of projects to the screen, including A Girl Walks Home Alone at Night and most recently The Greasy Strangler, which will be released in theaters and on demand this Friday, Oct. 7.

Finally, and most notably, Guillermo del Toro and Hideo Kojima collaborated on a horror project called PT, which was widely loved, only to get canceled.

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-...)

While Fahrenheit 451 remains one of Truffaut's most underrated works it combined elements of horror and oppression which certainly would lend itself well to Roeg's later works, as well as introducing him to Julie Christie, who would co-star in Don't Look Now.

With his most impressive score yet, Tyler recalls the richly atmospheric, melody - driven horror of such classic composers as Franz Waxman, Hans J. Salter and Heinz Roemheld — all Eastern Europeans who heralded a dark, romantic sound that powered the likes of «The Bride of Frankenstein,» «The Wolfman» and «Dracula's Daughter» (which isn't to mention how Tyler also draws on the symphonic, sandstorm force that Jerry Goldsmith gave to the first «Mummy's» vintage - set reboot).

Surprisingly, of all of the King adaptations, that 1986 film — which featured young characters on a journey to find a dead body — feels the most similar to this one despite the fact that this movie belongs in the horror genre.

After wrapping up play on the film festival circuit, which most recently included Brooklyn Horror Film Festival where it took home...

Still, Hollywood has used this most American of holidays to frame several fine stories of redemption, be they Academy - Award - winning sports movies like Rocky, Woody Allen comedies like Hannah and Her Sisters or even a short horror movie by Eli Roth (which we had to include).

Working sci - fi here with the same ease with which he handled horror in 28 Days Later, Boyle recasts the genre far from the sheen of Lucas» most recent space visions.

Step forward producer Dave Alexander, who promises to share the most frightening tales of all in his upcoming documentary series, Untold Horror, which features a horde of genre cinema heroes discussing the projects that never made it to the screen.

Which upcoming horror game are you most looking forward to in 2016?

One of Hitchcock's finest films, Psycho practically paved the way for some of the most notable films of the horror genre to come, all of which have tried to recapture the shocking, scintillating magic of this film, but few of which have even come close.

Featured most prominently is the score, which is one of the more memorable scores in horror film history.

Even if the rest of the discussion hadn't been painfully boring, this reinforcement of the «boys» club» mentality (which creates an immediate feeling of exclusion that any horror fan who isn't white / cis / male can most likely relate to), coupled with their approach to film criticism (which I heartily disagree with), made it hard for me to take them seriously.

The beginning of the 2017 adaptation of Stephen King's IT can be rough goings for all but the most seasoned of horror fans, which is a bar for entry that the makers of the movie have tried to lower.

Everything comes together in this movie — a phenomenal story; great performances (particularly from Perkins, whose take on Norman evokes precisely the right mix of sympathy and horror); the black - and - white cinematography (done, by most accounts, as both a cost - cutting measure and to lessen the impact of the bloody scenes), which contributes to an edgy, noir - ish feel that serves to increase the tension; and a killer soundtrack (horrible pun intended).

The script is a sharp balance of horror and comedy and for the most part, the screenwriter has fun with the idea by parodying the clichés that accompany vampires, such as the «rules» in slaying them, which Jerry teases Charles with.

Though most would not classify director Ridley Scott's 1979 collaboration with screenwriter Dan O'Bannon and Swiss freakazoid H.R. Giger as a «horror movie,» per se, we dare you to find many movies from this decade — or ANY decade, really — that are filled with more iconic scary moments than Alien (with one possible exception, which we'll discuss below).

Functioning as a social critique but operating first and foremost as the driest, bleakest type of comedy, the film seeks not chuckles but gasps of amused horror, a goal most ably and hauntingly achieved during a sick - joke finale in which the bubble is finally burst thanks to a sly bit of pop - culture infiltration.

We by no means advocate condemning violence in movies, and we do not believe we are doing so by pointing out that there is no equivalence between an R given to the most explicit horror images and the same rating given to a drama in which King George VI utters a four letter word.