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In style alone, Mitchell is an auteur seemingly emerged fully formed from the unhealthy womb of Metro Detroit. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. But A Dark Song thrives in that uncertainty, feeding off of monotony. The first 20 minutes show us a young camera crew investigating some unexplained bear deaths and a suspicious man who may be poaching them. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. It all boils down into more or less exactly the type of cat-and-mouse game you would expect, but the film manages to elevate itself in a couple of ways. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. James Wan is, in any fair estimation, an above average director of horror films at the very least. It was simply too frightening to deny, and that is worthy of respect. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. Jennifer Kent Between It Follows and The Babadook, the last year or so has been a strong one for indie horror films breaking free from their trappings to enter the public consciousness. Vincent, in her filmmaking debut. Wes Craven It was going to be hard to follow up the original Scream for plenty of reasons: Personally, it turned me off to puzzle boxes forever. It would be a great movie to put on during a Halloween party, provided your guests have very strong constitutions. Its intensity, effects work and unrelenting nature set it several tiers above the PG horror against which it was primarily competing. Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. In every sense, Troll Hunter lives up to its ridiculous name and premise. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity. As always, the film is painfully critical of the horror movie genre while still scaring the pants off audiences in voice-morphed, quizzical phone calls and Ghost Face pop-ups. Allow Ducournau her cheekiness. Here, the gimmick is that the sole woman being menaced by a masked intruder outside her woodland home is in fact deaf and mute—i. Between the two, The Babadook is perhaps less purely entertaining but makes up for that with cerebral scares and complex emotion. Or is the director drawn to stories that reflect the struggle of women to claim independence in their lives by shedding old scars or ghosts, be they literal or figurative? Na Hong-jin The U. What if those hillbillies are just socially awkward fellows sprucing up a vacation home and the young college kids in question are just prone to repeatedly jumping to incorrect, often fatal, conclusions?
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