Jordan Peele's «Get Out» is, again, a work of savvy craft that pulls an unsuspecting (white) viewer into a Sunken Place that other moviegoers know all too well; the movie
works as a horror film, as a goof on horror films, as a working street - map of African - American anxieties, and, for a white liberal audience, as an endlessly reflective hall of mirrors that urges a hard, necessary look at oneself.
Without Howery's presence, Get Out would
work as a horror film.
Not exact matches
A tragically beautiful
horror film that
works not only
as a supernatural thriller but also
as a commentary on the failure of man.
Generally his
film work less successful than this TV
work, which features the fantastic Salem's Lot adaptation
as well
as work on Masters of
Horror.
Toby Jones stars
as a sound engineer who travels to Rome in 1976 to
work on the post-production sound mix of The Equestrian Vortex, a
horror film about witchcraft set in an all - girl riding academy.
As a
horror film it
works, but it is a «self referential» commentary on the genre itself.
The
film works as supernatural
horror at the same time
as you feel the chaos and fear in everyday life during the Iran - Iraq War
as experienced by people like the rest of us and not by presidents and kings.
As far as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different way
As far
as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different way
as psychological
horror goes, the
films work well, and that they realize Poe's stories were mainly internalized distortions of the world
works to their advantage, even
as they approach the material in vastly different way
as they approach the material in vastly different ways.
The
film doesn't get
as much love from Variety, whose Justin Chang sees «some modestly campy pleasures» without «the delirious trash -
horror verve of De Palma's best
work,» and the The Playlist agrees, noting, «What Passion is lacking is, ironically, some passion.»
The
film, which clearly shows David Cronenberg's love for body
horror running through the family, revolves around a man (Caleb Landry - Jones)
working for a company who inject paying customers with the same viruses
as famous celebrities.
It turns out that the
film's conclusion, which left the door for further
horror wide open, was a promise
as Don't Breathe 2 is currently in the
works.
Joe Dante's a great filmmaker, but I wish he had made his return to features with a movie better than Burying The Ex, a glib, EC Comics - influenced
horror comedy that would probably
work better
as a short chapter in an anthology
film.
Other
horror films this season have ranged from arty to schlocky, but the scales tip to the latter — and that seems to be what the majority of
horror fans like; they consider
films such
as Clive Barker's «Lord of Illusions» and even a
work such
as «Species»
as essentially «party movies.»
It's not even that the
film shifts wildly in tone
as much
as the fact that none of those tones
work at all: the
horror parts aren't scary and, surprisingly for Smith, the comedy bits aren't funny.
AVC: One of the interesting things about
horror as a genre is that it's possible to
work on a micro-budget and still make an effective
film.
Of course,
horror films continue to be satirized, including the «Saw»
films, «The Grudge,» and «The Village,» but the sci - fi action of «War of the Worlds» is
worked into the proceedings
as well.
A profoundly unsettling
work from the great American director Todd Haynes, Safe functions on multiple levels:
as a prescient commentary on self - help culture,
as a metaphor for the AIDS crisis,
as a drama about class and social estrangement, and
as a
horror film about what you can not see.
A bit off a cheat, but Danny Boyle's 2002 alt -
horror film and its 2007 follow - up
work very much
as a whole when it comes to maximum emotional impact.
Borrowing from Takashi Miike's Audition (seminal J
Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore
film and boy did he deliver with what comes across
as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and
works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.
Tokyo Sonata, at first glance, plays less like the
work of Kurosawa than like that of Taiwanese filmmaker Hou Hsiao - hsien, but
as the story of downsized executive Ryuhei (Teruyuki Kagawa) unfolds, following roughly the same blueprint
as Laurent Cantet's Time Out
as Ryuhei conceals his unemployment from his wife and two sons, it comes clear that Kurosawa's brilliant, refined take on mass hysteria in his
horror films has been translated intact.
Within a very few years, artists like John Carpenter, John Landis, Steven Spielberg, Joe Dante, Rob Bottin, Rick Baker, Sam Raimi, Brian DePalma, Bob Clark, Dan O'Bannon, Sean S. Cunningham, Wes Craven, Tobe Hooper, Stan Winston, Larry Cohen, and on and on and so on, were
working in and reinvigorating the
horror genre — many under the tutelage of Roger Corman, still others the initial products of formal
film school training, almost all the consequence of a particular movie geekism that would lead inevitably to the first rumblings of jokiness and self - referentiality -
as - homage that reached its simultaneous pinnacle and nadir with Craven's Scream.
While the
film works as a weird, trippy, tongue in cheek
horror film set at Disneyland, it's nothing more than a
film school - made B - movie.
Released in 1995, mere months after the fan favorite In The Mouth Of Madness, Village Of The Damned is an odd duck, a bad
film that never comes close to
working as horror, but which features enough unusual touches and flourishes of staging to put it several notches above dismissible.
The primary reason the
film works so well
as horror is the same reason it
works as the study of a deteriorating mind: Kent's dedication to the subjective point of view of the protagonist.
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 the Steven Spielberg - produced, Joe Dante - directed movie nears its 30th anniversary, its star Zach Galligan has returned to the big screen and the horror genre, and he sits down with ETonline for an extended, exclusive interview about all things Gremlins, from working with the stunning Phoebe Cates and those unpredictable animatronic creatures to the controversy surrounding the film's MPAA rating and the unexpected celebrities who have since outed themselves as fan
As the Steven Spielberg - produced, Joe Dante - directed movie nears its 30th anniversary, its star Zach Galligan has returned to the big screen and the
horror genre, and he sits down with ETonline for an extended, exclusive interview about all things Gremlins, from
working with the stunning Phoebe Cates and those unpredictable animatronic creatures to the controversy surrounding the
film's MPAA rating and the unexpected celebrities who have since outed themselves
as fan
as fans!
What
works best about Insidious, which is about
as adoring a love letter to Tobe Hooper's Poltergeist
as a good
film can get, is how it takes
horror flick concepts both old and relatively new and mixes them up, blender - style, and the result is a 95 - minute fun - time ass - kicker that has
as much love for the genre
as it does in making you pounce out of your seat.
The greatest surprise is that this
horror film works deeply
as both a scary tale and a coming of age journey for characters on the cusp of adulthood.
Although it
works better
as a romantic comedy than
as a
horror movie, this
film is cute and breezy with a likable cast that might help zombie fans overlook the glaring lack of gore.
While the latter is ratcheted up, to the Guards» credit, their
film not more of a supernatural
horror film but a psychological thriller along the lines of the original, and it almost
works as its own thing, mostly thanks to Banks (obviously relishing the chance to play against type) and the talented young lead actresses.
The writer and director,
as on the original Guardians of the Galaxy (2014), is James Gunn, who comes from an exploitation background at Troma Entertainment, and
worked his way to the «A» list through subversive
horror films (Slither) and subversive superhero
films (Super).
Today marks the birthday of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «giallo»
horror genre (although he created
works ranging from spaghetti westerns to science fiction
films as well).
Usually known for his comedic
work (and there are plenty of comedic moments throughout courtesy of LilRel Howery), Jordan Peele has excelled
as a
horror film maker.
And a sequence in the middle of the
film, in which a nude Alexandra Delli Colli, having engaged in bondage play with a stranger, begins to suspect that her partner is the Ripper and starts
working to untie those knots
as he slumbers next to her, is a terrific
horror set - piece.
One of the reasons Evil Dead
works as well
as it does is that there is already a «cabin
horror» shorthand we all know, based on the array of stellar existing
films.
Its
horror and thriller
films are bursting with creativity, originality and a unique voice in a flooded international market, set apart by
works such
as Bong Joon - ho's «The Host,» Jang Cheol - soo's «Bedevilled» and Kim Jee - woon's «I Saw the Devil.»
Similar to «Hot Fuzz» and «Shaun of the Dead,» each of which
works as a genre
film (buddy cop for «Hot Fuzz» and zombie movie for «Shaun of the Dead») and a send - up of the genre itself, «You're Next» is a smartly devised
horror movie masquerading
as a really dumb one.
The first (and probably the best)
horror film from master Mario Bava
works as both an homage to the Universal monster classics and an early harbinger of the graphic violence that would eventually become a large part of Italian
horror cinema.
The movie
works both a
as a
horror film — with a fairly high body count and several gruesome deaths — and
as a whodunit.
This year's award went to Christopher Lee, the magnificently suave and sinister English actor whose
work is gloriously associated with Hammer
horror films, notably
as perhaps the finest screen Dracula.
While most automatically assumed that the new script would be some sort of
horror - comedy, based on Green and McBride's inclination to aim for laughs in their
works, the latter tells Cinema Blend that the new
film will carry the same frightening tone
as the original «Halloween»
films.
«Here's how parenting
works» becomes the theme of this public service reminder disguised
as a
horror film.
They are primarily known for their
work in the
horror genre with
films like 2008's Quarantine and last year's
As Above, So Below.
Indeed, despite the various critics who chided earlier Haneke
films for their supposed finger - wagging moralism and chilly Protestant air, and who are now falling over themselves to praise Amour
as the director's most compassionate
work to date, Amour is
as much of a home - invasion
horror show
as Haneke's earlier Funny Games.
Beltrami's career began with the soundtrack of the thriller Death Match in 1994, and he gained renown for his
work on
horror films such
as Mimic (1997), The Woman in Black (2012), and all four
films in the Scream series (1995 — 2011).
Peter McRobbie does solid
work to
as Pop Pop, in a less showy performance but one that also packs in its fair share of
horror and threat in the
film's later stages.
She
as well is also known for her
work in
horror films such
as Thirteen Ghosts, Cursed, and Night of the Demons.
Brigadoon Documentaries will weigh heavily in the Brigadoon sections, with
films such
as Sangue Marginal - Relatos de cinema e vídeo underground, dedicated to Brazilian fantastique and
horror film; Eurociné 33 Champs Élysées, focused on the iconic French production company Eurociné; or The Outsider - Il cinema di Antonio Margheriti, an overview of the
works of the Italian director Antonio Margheriti.
He is best known for his
work in the
horror film genre, particularly in the subgenre known
as giallo, and for his influence on modern
horror movies.
Along the way Kwan introduces a fascinating array of relatively unknown figures (I'm especially intrigued by Maxu Weibang, a «uniquely perverse»
horror specialist who
worked in the Shanghai studios in the 30s) and also provides absorbing commentary by and about, among others, Hong Kong action director Chang Cheh and his disciple John Woo; Hong Kong directors Wong Kar - wai and Allen Fong; Taiwanese directors Hou Hsiao - hsien, Edward Yang, Ang Lee, and Tsai Ming - liang (most of them speaking about their fathers or children and how these relationships inflect their
films); older mainland directors such
as Xie Jin; and actor Leslie Cheung (critiquing some of his own pictures).