Sentences with phrase «which most horror films»

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

Not exact matches

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.

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.

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.

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).

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-...)

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...

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.

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.

The creeping paranoia and the excellent setups that make you suspect various players, until the true story starts to unfold, creates an unsettling feeling of dread absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, diminishing the emphasis on narrative and suspense.

That's partly because the film stars actual teenagers, most of them wearing fashions that probably came right off the rack at Kmart, and not only do they make Sleepaway Camp largely unique in the annals of summer - camp horror (which normally focuses exclusively on the older, more nubile camp counsellors), they give the proceedings an almost Lord of the Flies quality that sells the concept.

The creeping paranoia and the excellent setups that make you suspect various players until the true story starts to unfold creates an unsettling feeling of dread, absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, weakening the emphasis on narrative and suspense.

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.

Most notably, however, is Steven Soderbergh's iPhone - shot horror film Unseen, which looks just as crazy as it sounds, is out later this month.

So I'm grateful for 1959's «Eyes Without a Face,» which critic Pauline Kael described as: «perhaps the most austerely elegant horror film ever made.»

Paths Of Glory — One of my favorite, and one of the least misanthropist, of all of Stanley Kubrick's films is this courtroom drama in which Kirk Douglas tries to save three men from being executed for cowardice in the wake of a disastrous and idiotic offensive during World War I. Kubrick directs in a crisp, deep focus black and white, and his depiction of the battle, a long tracking shot of the horrors of trench warfare, is one of the most powerful scenes he ever shot.

His most recent film score was accompanied the French horror film La Meute, which premiered as an official selection at the Cannes Film Festival.