Sentences with phrase «works as a horror film»

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 wayAs 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 wayas 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 wayas 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 fanAs 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 fanas 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).