They'll depict haunting images that get under your skin, and stay there for years.
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PEOPLE: But why does Devin get under your skin in a way that Cory doesn't?
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Even when you love your partner, sometimes they do things that get under your skin.
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That kind of politics is most effective, because it can really get under your skin.
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Because they can measure how you react, they know just how to get under your skin (see article).
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Instead of letting negative comments get under your skin, look at them as learning opportunities to grow from.
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But if a drama is really going to get under your skin, it needs to pulse with life.
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It's that tension that makes their music get under your skin—as well as such a painstakingly assembled product.
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He definitely knows how to get under your skin, even if that means getting on your nerves as well.
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Like the original, not everything the new Twilight Zone tries will work, but it just might get under your skin.
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Just as remarkable are the pop sensibilities Hval wields to allow an otherwise esoteric pursuit to get under your skin.
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Advertise on Hyperallergic with Nectar Ads Kathy Acker is one of those writers who will easily get under your skin.
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As someone with such a public profile, what kinds of things do strangers say to you that get under your skin?
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"Jealous Sea" and its accompanying video is an expression of eerily beautiful frustration that is sure to get under your skin.
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If you squirt yourself with the vial of fragrance you get when you leave, it may get under your skin, too.
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They will occasionally get under your skin, but a little genuflection will go a long way in getting your budget requests approved.
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You might be the sign of partnership, but this month, feeling locked down in a commitment will really get under your skin.
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But after a while the Grand Guignol effects start to get under your skin — unless that's just the leeches crawling out of their jar.
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Then some moves get under your skin, especially quick pivots in which the dancers reverse to face the opposite direction and then back again.
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Some stipulated that it was just trash talk meant to get under your skin, and race just happens to be one way of achieving that.
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That could make the third time the charm for Ben Edlund's comic-book spoof, which is fun, even if it doesn't quite get under your skin.
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This is the kind of big, loud Broadway musical that dazzles where smaller, subtler shows like The Band's Visit and Dear Evan Hansen get under your skin.
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No matter who you are, they are going to try to find something to try to get under your skin and make you be somebody you're not.
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Director Scott Derrickson's horror background is inflected here — let's face it, psychedelia can be uncomfortable and downright spooky — and a few sequences will definitely get under your skin.
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"Some of those that cyberbully attempt to identify something that you're particularly sensitive about, and because they know that it will get under your skin," Dr. Hinduja said.
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Its singles offer near-perfect pop made visceral by Raia's jazz student roots and acrobatic vocal range, left just rough enough around the edges to get under your skin.
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The tensions generated on the surface get under your skin even as you're irrevocably seduced by the color and scale — a sensation that can only be described as exquisite irritation.
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It's hard to imagine not letting an opponent like Trump get under your skin, but it's an easy argument to support that Clinton kept it together in a very presidential way.
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To reach it, any would-be-invaders have to get under your skin, travel through your bloodstream undetected by immune system sentries, somehow cross a cell membrane, and finally find their way into the nucleus.
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Ben Wheatley, Ti West, and Lee Hardcastle lend their talents to this anthology film where not every chapter is terrifying, but the ones that get under your skin will stay there for a long time.
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Viewers around the world will tune in to see whether these protests get under your skin and derail the visit or whether you can focus on the substantive agenda that you and May have to get through.
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Adapted from Caleb Carr's novel, this historical fiction is handsomely produced and smartly cast, but merely delivers the latest twist on a serial-killer yarn -- a particularly nasty one, true, but which at least initially fails to get under your skin.
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Few horror movies get under your skin as easily as "Unbreakable" does when a killer materializes at a family's door ("I like your house") a scene that creates the kind of terror that fires up your fight-or-flight response.
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But there are other things that can really, really get under your skin when you're sitting across the table from someone several times a week: an unexplained aversion to anything green, a diet comprised entirely of canned chili, or maybe a hatred of pizza.
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If your partner has "a really benign but totally-can-get-under-your-skin kind of habit," Dr. Johnson told me, shouting out something silly like, in this case, "pacing!" could break the ice and also communicate to your partner that they're doing The Thing.
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For the most part these little touches of real-world grounding are pretty shallow and easily ignored… but occasionally they get under your skin and make you appreciate the ways in which even a job as a highly-paid athlete is still just that: a job.
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This epic is unlike any other I've read—it will get under your skin as it drives you towards the deepest reaches of space, asking the too-often unasked questions about such journeys: questions of ego, of experience, of what then constitutes as hallucinatory, from beyond it all.
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From meat-and-potatoes tropes like handheld cameras, the "woman in distress," and the "unreliable narrator," to scarring cuts like interrogation sequences and "do you trust me?" moments, Nymphomaniac will get under your skin and stay there, not unlike the scariest installments in the diabolical von Trier canon, Antichrist, The Kingdom, and Epidemic.
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The buzzed-about film appears to get under your skin in more ways than one, but perhaps its worst side effect is that it means you can't listen to the percussion of Monáe's feel-good, groove-tastic hit of the summer without being reminded of a particular recurring noise in the film that is keeping everyone up at night.
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He also praised Harness' script as "impressive" and said that Wilmshurst "fully understands that slowing things down and making little moments count is the key to crawling under people's skins". He closed his review by saying "The best Doctor Who episodes have something to say, get under your skin, and keep you pretty much gripped until the end credits roll. 'Kill the Moon' certainly did that, with us heading for a rewatch as soon as it was done. It has a good science fiction story underneath it, a strong dilemma, and real consequences".
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" The Atlantic 's Julie Beck noted "The best scary stories do that—they get under your skin and emerge again and again. (The worms crawl in, the worms crawl out.) Scary Stories the movie just bounces right off." David Fear of Rolling Stone gave the movie three stars out of five, commenting "It’s all a lot of chain-rattling, black-cat-screeching fun, though not such a blast that you don’t notice how generic and ramshackle the whole endeavor feels... The pity is that Scary Stories to Tell in the Dark will mostly be seen by jaded genre completists and nostalgic fortysomethings.
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God Hates Us All explores themes such as religion, murder, revenge, and self-control. King wrote a majority of the lyrics, which he based on "street" subjects which everyone could relate to, rather than "Satan this," "Satan that," and "the usual Dungeons & Dragons shit" from the band's previous records. King told Guitar World: The song "Threshold" is about reaching one's limit with a person in a situation where one is about to break—and are about to blow up as they get "under your skin", while "Cast Down" features a fallen angel who falls into drugs. "God Send Death" and "Deviance" take up the idea of killing people for pleasure.
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" Also of New Release Tuesday, Dawn Teresa reflected that "upon repeated listening, these songs get under your skin", which the listener will "find the record is worth many listens." Shannon Zabroski of Oncourse told that "these two [are] back in full-album form," which this is because "they are a rare duo that brings a distinct flavor of worship in a sea of sound-alike groups." At The Phantom Tollbooth, Larry Stephan said that "it may have served the record better to pull back on the throttle in places." At Christianity Today, Joel Oliphint claimed that "the songwriting is so formulaic that the songs run together", which leads "to singable yet unmemorable, overdramatic refrains.
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On review aggregation website Rotten Tomatoes, the film has a rating of 41% based on 75 reviews and the average rating is 4.9/10. On Metacritic, the film has a score of 45 based on 17 reviews, indicating "mixed or average reviews". While The Independent wrote "Brimstone is raw and very powerful filmmaking, a movie that can't help but get under your skin", Variety wrote it was "highfalutin exploitation", blaming it on the Netherlands, writing, "It is, after all, a country that ever since the 1960s, especially in Amsterdam, has profferred a more liberal view than almost any other place of what might euphemistically be termed 'youthful sexuality'." Roger Ebert's publication referred to the film as “dimwitted, amoral exploitation” and accused Koolhoven of identifying most with the murderous and incestuous Reverend.
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" They closed the review by calling the album a "lo-tech, high-impact multimedia experience." The Los Angeles Times positively compared Hellbilly Deluxe to the works of White Zombie, claiming that "the overall sound is leaner, and the tracks are infused with the campiest elements of Zombie's B-movie obsessions." Rolling Stone praised the album, commenting "The music on Hellbilly, as usual with Zombie, is a force to be reckoned with – pulverizing hard-rock riffs propelled by drums and electronic percussion, a sonic assault that, under all the bombast, is as meticulously arranged as any Whitney Houston track." Entertainment Weekly gave the album a mixed review, writing "It's all a little creepy, to be sure, but Zombie's cartoonish antics are too over-the-top to really get under your skin.
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Larry Fitzmaurice of Pitchfork dubbed the album "upsettingly uneven", adding that it represented a transition away from the sound of band's earlier work, which he felt was still evident in "Ace of Hz" and "Mirage", towards a "floatier, airy feel". Michael Hann of The Guardian expressed that Gravity the Seducer did not measure up to the band's earlier work, picking out their earlier single "Destroy Everything You Touch" as a yardstick "that subsequent work will always be judged against". Spin magazine's Barry Walters remarked that the album "lacks the infectious, dark-disco rumble" of Ladytron's earlier work, noting that it "withhold[s] the hooks that previously put the sweet in their bitter". John Calvert of Drowned in Sound characterised the album as "slightly bland" and "nondescript in its understated sophistication", concluding that "Gravity the Seducer never manages to get under your skin the way the band intended".
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The classic sound on No More Hell to Pay is similar to the band's sound from its peak in the 1980s, but features a new maturity and grittiness. At CCM Magazine, Andy Argyrakis described the album as equal parts aggressive and melodic with massive guitar solos and layered harmonies, and noted that it intentionally references the band's early days without sounding dated. Lee Brown of Indie Vision Music likewise wrote that the album could easily have been released during the band's heyday in the late 1980s and early 1990s, and remarked that it has the high, falsetto vocals, riffing guitars, and bold, faith-centered lyrics which fans would expect. Bert Saraco of The Phantom Tollbooth highlighted that the group continues "the Stryper tradition: not so big on the subtleties, heavy enough to rock you, hooky enough to get under your skin", and that it combines elements of pop, metal, and arena-rock.
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A screenshot from the film showing the main cast: (from left to right) Kristen Cloke as Ms. Valerie Lewton, Seann William Scott as Billy Hitchcock, Kerr Smith as Carter Horton, Amanda Detmer as Terry Chaney, Ali Larter as Clear Rivers, Devon Sawa as Alex Browning, and Chad Donella as Tod Waggner. "One of the most important things we were looking for in casting was the actors' ability to play the subtleties – the little things that a character doesn't say or do that create the edge, the things that get under your skin and spook you," Morgan said about the auditions. Alex Browning, the last role cast, went to Canadian actor Devon Sawa, who previously starred in the 1999 film Idle Hands. Sawa said that when "[he] read the script on a plane, [he] found [himself] peeking out the window at the engine every couple of minutes" and "[he] went down and met Glen and Jim and [he] thought they were amazing and already had some great ideas".
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The album was generally well received. AllMusic praised the album for being something new while still being familiar to Patrick's past with Filter and Nine Inch Nails, describing it as "Less politically on the nose than the poppy Anthems for the Damned, more mature than the easy retread of The Trouble with Angels, and more visceral than The Sun Comes Out Tonight" and ultimately that "Crazy Eyes manages to tread new ground for Filter while respectfully acknowledging the sound that propelled the band in the first place. The Sputnik Music staff review echoes these sentiments, stating that the album was better than Filter's last few albums, but that "though harder to digest on a first listen, these songs gradually get under your skin, revealing one of Filter's greatest LPs to date." Renowned for Sound was less positive about the album, criticizing Patrick's rough vocals and concluding that "Patrick tries to cover too much ground on one record, creating the feeling of a collection of songs instead of the feeling of an album.
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