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Camerimage, the film festival centered on the art of cinematography, will bestow its Lifetime Achievement Directing Award on helmer Peter Greenaway during its 27th edition, which will take place in Torun, Poland, on Nov. Known for his scenic composition and depictions of pleasure and pain, Greenaway has told visually riveting stories through such films [ Popular on Variety.

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Dylan’s Witch

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Prayers That Bring Healing by John Eckhardt w/ Music

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Face Off. Dirty John, The Dirty Truth. Those losses feed vengeful desires while humanizing these characters and validating their humanity. He represents a particular and sadly relevant kind of evil. You can appreciate its surface pleasures stomach-churning brutality and its proudly DIY design sensibility , or you can appreciate it in its capacity as a remark on America in Or both. Come for the carnage, stay for the social introspection.


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Evans knows exactly how long to needle the audience with a slow-burning mystery before letting the blood dams burst; his conclusion both embraces supernatural craziness and uncomfortably realistic human violence. Gone is the precision of combat of The Raid , replaced by a clumsier brand of wanton savagery that is empowered not by honor but by desperate faith.

Evans correctly concludes that this form of violence is far more frightening.

Supernatural Bonds Series in Order - Jory Strong - FictionDB

The result is a tense, effective thriller that goes out of its way to highlight two strong actors Bruce Greenwood and Carla Gugino in an unfettered celebration of their craft. This is nothing new for Flanagan, whose recent output in the horror genre has been commendable. Is this coincidence?


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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? It would be a great movie to put on during a Halloween party, provided your guests have very strong constitutions.

Two performers bare it all, both literally and figuratively: Creep 2 is one of the most surprising, emotionally resonant horror films in recent memory.

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Instead, Saulnier simply presents us this nutty scenario without feeling the need to lard it up with anything as cumbersome as topical commentary or moral ambiguity. He proceeds to wring as much tension and suspense from its pulpy retro plot as possible, adding a few entertaining grace notes along the way, which can best be seen in its performances.

Meanwhile, Saulnier supports these characters and plot turns with filmmaking that is remarkable for its economy and patience. Sean Porter gets a lot of mileage out of the cramped quarters and grimy lighting of the bar, lending its wide 2. In those ways, the lean, mean Green Room stands as one of the best B-movie genre exercises in many years. Evil , answers the simple question: 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?

Think Final Destination meets the Darwin Awards. This is true of slow-burn cinema of any stripe, but Kusama slow-burns to perfection. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. In the case of The Invitation , that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives.

The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. The film starts in earnest as Will Logan Marshall-Green in top form arrives at a dinner party his ex-wife, Eden Tammy Blanchard , is throwing at what once was their house. He has brought his girlfriend, Kira Emayatzy Corinealdi , along with him. 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. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place.

Their latest, The Endless , is all about brotherhood couched in unfathomable terror of Lovecraftian proportions. Though, in The Endless , the end is uncertain, but maybe the title makes that a smidge obvious. Its image is only seen on camera once, but once is enough to make an impression. Here, the intimacy is fraternal, which perhaps speaks to how Moorhead and Benson feel about each other. The simple structure of this documentary involves in-depth interviews with eight people who all suffer from some form of sleep paralysis as they describe the horrifying visions they encounter on a nightly basis.

On the other hand, the documentary is frustrating at times for not asking or answering what seem like fairly obvious questions, i. Have any of the subjects of the documentary ever been studied in an overnight sleep study? It leans entirely on its performances, which are excellent. The early moments of back-and-forth between the pair crackle with a sort of awkward intensity.

The Conjuring Year: Director: James Wan Let it be known: James Wan is, in any fair estimation, an above average director of horror films at the very least. 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.

Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. Its intensity, effects work and unrelenting nature set it several tiers above the PG horror against which it was primarily competing. It was simply too frightening to deny, and that is worthy of respect. Critical examination aside, it truly is a frightening film, from the scene where Cole is locked in a box with an abusive ghost to the little moments I always found the scene where all the kitchen cabinets and drawers open at once while off-screen to be particularly effective.

For better or worse, though, this is the defining film of M. Rarely has the danger of success been so clearly illustrated for an artist—Shyamalan crafted a scary film that still holds up today, and then spent most of the next decade chasing that same accomplishment with rapidly diminishing returns that have only recently been rehabilitated with the likes of Split.

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The Rules of Magic: A Novel (The Practical Magic Series #1) (Hardcover)

This South Korean story of a career-minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. The monsters, ghosts, and things that go bump on the wall are off-screen, barely shown, or obscured by shadow.

By embracing the squirm—and the time necessary to get us to squirm rather than jump— The Haunting of Hill House is great at creating troubling scenarios, and even better about letting us marinate in them. Rarely has abject terror and helplessness been so perfectly captured as it is here, Carrie desperately, pathetically clinging to her classmates in terror of her first menstruation, only to be derided and pelted with tampons as she lays in a screaming heap.

Carrie is a brisk film which thrives on those two strong, central performances, building to the gloriously cathartic orgy of revenge we all know is coming.