Word: filmã
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...suspenseful scene in red. Furthermore, Dahl savors situations in which his audience knows more about a tense situation than his heroes and heroine do. Viewers are aware of the villainous trucker’s traps. Suspense is built as they wait and watch, wondering whether or not the film??€™s main characters will fall into these traps while the film??€™s musical score rises and falls in intensity in a direct relationship to the mounting tension...
Despite Dahl’s rejection of his film??€™s status as another teen horror flick, it is certainly being marketed as one. Among other things, the promotional trailer promises its potential audience members a film that will terrify and drive them over the edge. While some scenes of suspense may bring people to the edge of their chairs, the film is unable to terrify with its trite scare tactics. and the film??€™s open ending leaves the possibility for a new franchise. Joyride 2. Now that’s frightening...
Don’t Say a Word may be the name of Michael Douglas’ newest psycho-thriller, but I have a feeling the phrase got tossed around quite a bit by the studio before the film??€™s release. In regards to the film??€™s writer and director, my guess would be that two words were actually forbidden from their vocabulary: plausibility and logic...
...also wrote the adaptation of Misery, flows beautifully and elegantly and is perfectly suited for Hopkins. The direction and script, joined with the late Piotr Sobocinski’s cinematography, reaches its height in climactic scenes that have an almost Technicolor glory to them, quite appropriate for the film??€™s 1950s spy drama atmosphere. Hopkins seems built for the part of Braughtigan, the enigmatic but elegant friend to Bobby. The unquenchable curiosity of Anton Yelchin’s Bobby plays perfectly against Hopkins’ mystique. It is this mystique that makes the film so magnetic and engrossing?...
...credit to the director and scriptwriter (Stallone himself!) that the film never takes the easy way out of a situation. Brandenberg is the best example; it would have been all too easy for his character to be the stereotypical snarling villain who deserves and receives his comeuppance at film??€™s end. But just as Bly is more anti-hero than your garden-variety all-American hunk of beefy goodness, Brandenberg is shown to be a human, with both flaws and admirable virtues. One expects him to play the villain, and it comes as a pleasant surprise when...