#horror-genre

#horror-genre

The compositional and narrative vocabulary of b-movie horror films is prevalent in Robin F. Williams' new work, exploring themes of fear and desire.

This year's festival boasted the highest-attended film in the entire history of UFF. That was thanks to Robbie Smith's I Don't Like It Here, whose popularity had little to do with any apparent tendrils reached out to the other side of horror fandom and more to do with the fact that everyone involved in its making had been involved in UFF in some way.

This ambitious, unabashedly scary movie offers a no-frills adaptation sprung straight from the mind of Hellboy creator Mike Mignola, yet it has its drawbacks.

The Wolf Man reboot shifts focus from mere horror to exploring deep familial relationships and trauma, emphasizing the psychological implications of Blake's transformation.

Gary Dauberman emphasized that the key to adapting Until Dawn was to build upon the game's universe without replicating the exact experience players had. He stated, 'I thought a lot about how to continue the story of the game without giving the audience the same experience they got playing the game.' This reflects a focus on innovation while respecting the source material.

Hugh Grant expresses his aversion to technology, calling smartphones the 'devil's tinderbox' and stating, 'I think they're killing us. I hate them.' He takes lengthy breaks from them akin to 'long holidays' for clarity's sake.

The Wayans brothers expressed their excitement about creating the new Scary Movie, emphasizing the joy of bringing laughter back to theaters after more than 20 years.

Bloober Team's new modes for Silent Hill 2 remake echo the original's aesthetic but the '90s filter name misrepresents the game's true release timeline from 2001.

In the dog days of summer, on a particularly rubbishy Labor Day weekend at the movies, it’s at least reassuring to know that very few people will find themselves stuck with this one.

In 'Taste,' Carpenter's eye for the grotesque is hard to miss, particularly when we witness her thriving as a blood-splattered blonde bombshell. Her striking visual storytelling echoes the infamous aesthetic of popular horror films like 'Death Becomes Her,' highlighting a playful yet morbid fascination with the horror genre. This artistic direction, paired with her on-screen synergy with Jenna Ortega, creates a compelling case for Carpenter's bid for a future role in a slasher flick.

Instead, 'Longlegs' took second with $22.6 million, while 'Fly' is initially placed at $10 million (others have it lower), and only in fifth place. Both are striking results.