1. Jump scares are what I consider cheap jack stupid tricks: the viewer is shocked by slamming into a sudden upward facing cliff of sound. Worse yet, the residue of each such collision is that the protagonist looks like a weakling or a fool; neither of these makes me more interested in the film.
2. Sacred cows are films, actors, or directors that are considered above any type of criticism. From a conversation in MOVIES and BOOKS WORLD (a Google plus community):
What is Sacred Cow status?
(my reply)
Sacred cow as in India, where in some quarters one may not kill or injure cattle (or even shoo them along) because they are thought of as sacred.
As for movies and review/criticism, a few films are thought to be (by some parties) above being the target of any plain speaking about its deficiencies. Anyone who dares say 'the acting could have better because...' gets trolled, sometimes relentlessly.
While researching Babadook before watching it, I stopped after only about 50 reviews. Why? Because at least a third or more of the reviews attacked other reviewers for not rating the film 9/10 or 10/10. Those who gave the film low ratings were described in quite unflattering terms.
While I hated this film intensely, others did not. Take +Peter Pluymers for example. I imagine (correct me if I am wrong) he watched the film, thought about it, then wrote up his considered opinion. Good for him, and I'm glad he had a better time watching it than I did.
Some who rated Babadook highly do not give others the same courtesy that I would automatically give to them. Such folk are offended that someone gave their favourite a low rating, and they think they have the right not to be offended. Such people think of the film as above criticism; that is, has sacred cow status.
--------
Sorry for the long answer. I have avoided watching and/or reviewing several films in the past year or so because they obviously have strong sacred cow standing. I'm done with that. (Such as Guardians of the Galaxy, Babadook, Straight out of Compton, and so many others.)
I'll be using the phrase sacred cow for any film that I think has this sort of standing. I am reminded of 'crap movie' alert, except that some sacred cows I really like, such as Inception or Birdman.
3. Additional Horror cliches, slasher/serial murderer sub-genre:
a. Those running from the slasher serial murderer are going to stumble over nothing, fall, and die soon thereafter.
b. Let's split up
c. Teenagers having sex (or were on the way) are many times more likely to be killed by the serial murderer
d. There's a murderer on the loose, so it must be time to take a shower.
e. Even though you thought you killed the slasher, they are still alive or can be resurrected.
f. When running out of the house at night, it's better not to take your keys.
4. Horror cliches, alien monster sub-genre:
a. What is that alien life form? Let me put my face next to it.
b. They obviously come in peace.
c. Anything that goes wrong is our fault, not theirs.
5. Horror cliches, traditional fantasy {vampire, werewolf, frankenstein, mummy, witch} sub-genre:
a. The older cliches do not actually work: garlic, wolfsbane, crucifixes, silver bullets, wooden stakes, and the like.
b. The monsters look good, while ordinary humans are ugly. Think Twilight and Harry Potter.
6. Horror cliches, body violation sub-genre:
a. People can survive for long periods of time while hanging from a thick meat hook that has penetrated several internal organs.
b. Tiny parasites can control higher level behaviour in the host.
7. Horror cliches, elimination derby sub-genre:
a. Will one person survive, or will it be zero? Two or more seems out of the question.
b. Elimination derby often marks the final act of a film. First there is the initial tableau, where characters and interactions are introduced. Second, perhaps a round of illustrating conflicts. Last, though is the elimination derby: the reasons for everyone being killed are clear, so only the actual murders are left.
c. Some of the cheaper horror films skip the initial tableau and delineation of conflicts, and go straight to elimination derby. This way, the writing is less complicated, and the director (if there is one) does not have to plan the smooth bundling of plot lines.
W.I.P.
2. Sacred cows are films, actors, or directors that are considered above any type of criticism. From a conversation in MOVIES and BOOKS WORLD (a Google plus community):
What is Sacred Cow status?
(my reply)
Sacred cow as in India, where in some quarters one may not kill or injure cattle (or even shoo them along) because they are thought of as sacred.
As for movies and review/criticism, a few films are thought to be (by some parties) above being the target of any plain speaking about its deficiencies. Anyone who dares say 'the acting could have better because...' gets trolled, sometimes relentlessly.
While researching Babadook before watching it, I stopped after only about 50 reviews. Why? Because at least a third or more of the reviews attacked other reviewers for not rating the film 9/10 or 10/10. Those who gave the film low ratings were described in quite unflattering terms.
While I hated this film intensely, others did not. Take +Peter Pluymers for example. I imagine (correct me if I am wrong) he watched the film, thought about it, then wrote up his considered opinion. Good for him, and I'm glad he had a better time watching it than I did.
Some who rated Babadook highly do not give others the same courtesy that I would automatically give to them. Such folk are offended that someone gave their favourite a low rating, and they think they have the right not to be offended. Such people think of the film as above criticism; that is, has sacred cow status.
--------
Sorry for the long answer. I have avoided watching and/or reviewing several films in the past year or so because they obviously have strong sacred cow standing. I'm done with that. (Such as Guardians of the Galaxy, Babadook, Straight out of Compton, and so many others.)
I'll be using the phrase sacred cow for any film that I think has this sort of standing. I am reminded of 'crap movie' alert, except that some sacred cows I really like, such as Inception or Birdman.
3. Additional Horror cliches, slasher/serial murderer sub-genre:
a. Those running from the slasher serial murderer are going to stumble over nothing, fall, and die soon thereafter.
b. Let's split up
c. Teenagers having sex (or were on the way) are many times more likely to be killed by the serial murderer
d. There's a murderer on the loose, so it must be time to take a shower.
e. Even though you thought you killed the slasher, they are still alive or can be resurrected.
f. When running out of the house at night, it's better not to take your keys.
4. Horror cliches, alien monster sub-genre:
a. What is that alien life form? Let me put my face next to it.
b. They obviously come in peace.
c. Anything that goes wrong is our fault, not theirs.
5. Horror cliches, traditional fantasy {vampire, werewolf, frankenstein, mummy, witch} sub-genre:
a. The older cliches do not actually work: garlic, wolfsbane, crucifixes, silver bullets, wooden stakes, and the like.
b. The monsters look good, while ordinary humans are ugly. Think Twilight and Harry Potter.
6. Horror cliches, body violation sub-genre:
a. People can survive for long periods of time while hanging from a thick meat hook that has penetrated several internal organs.
b. Tiny parasites can control higher level behaviour in the host.
7. Horror cliches, elimination derby sub-genre:
a. Will one person survive, or will it be zero? Two or more seems out of the question.
b. Elimination derby often marks the final act of a film. First there is the initial tableau, where characters and interactions are introduced. Second, perhaps a round of illustrating conflicts. Last, though is the elimination derby: the reasons for everyone being killed are clear, so only the actual murders are left.
c. Some of the cheaper horror films skip the initial tableau and delineation of conflicts, and go straight to elimination derby. This way, the writing is less complicated, and the director (if there is one) does not have to plan the smooth bundling of plot lines.
W.I.P.
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