Shudder’s first major new regular series, outside of The Last Drive-In with Joe Bob Briggs, has finally landed. Does Shudder’s refresh of the classic horror anthology series, Creepshow, stick that landing, though?
In short, yes; Creepshow is wonderfully creepy, presents two great stories, and lives up to the precedent of the original two films.
For those unfamiliar with Creepshow as a concept, the original film was a 1982 horror-comedy anthology directed by George A. Romero. The film also served as Stephen King’s first screenwriting credit. The film was a collection of short horror stories with a variety of stars, packaged like the kind of material you could find in old E.C. horror comics.
The show looks to follow this same spirit, providing two stories in the first episode. We’ll be reviewing the stories individually for these reviews.
On with the Creepshow…
The first tale of the evening features the biggest names of the episode. Genre fans should be happy with seeing Adrienne Barbeau, Giancarlo Esposito, and Tobin Bell. This story is a period piece about a small town and a bad, bad dad.
“Gray Matter,” directed by Greg Nicotero and based on a short story by Stephen King, has all the hallmarks of what one would expect from a Greg Nicotero production. The short is creepy as hell, incredibly gross, and full of some fantastic special effects. The Walking Dead has largely succeeded due to the directorial and producer’s eye of Nicotero. The same eye is definitely guiding Creepshow as a whole, yet, “Gray Matter” does miss the mark a bit.
The story features some members of the local community who take refuge in a general store during a hurricane. A local boy, Timmy, comes in from the storm to by beer for his father, but the boy seems spooked. Chief, a cop (Bell) and Doc (Esposito) go to deliver the beer and check up on dear ol’ dad. The boy stays behind with Dixie (Barbeau) and fills her in on what is going on.
The problem is that while so much of this story works, the apocalyptic ending does not have enough time to develop. The reveal of what Timmy’s father has become is incredibly gross and creepy. However, the ending feels rushed and the nature of the father’s growth is hurriedly broached.
“Gray Matter” was about as gross and creepy as one would expect, but the ending is just lacking in enough buildup.(3 / 5)
“The House of the Head”
The second story of the evening stars Cailey Fleming, best known as Judith Grimes in the current seasons of The Walking Dead. Expect to see a number of the alumnus of the AMC series join Creepshow as the series goes on. Josh Malerman is the writer of the story, while directorial duties were handled beautifully by John Harrison.
A good descriptor for this story might be “minimalist.” One could hazard a guess that most of the budget went to a single prop: the dollhouse. The episode does not feature many locations at all and most of the action takes place in a child’s bedroom with a brief pair of sojourns to a toy store. The episode spends a great deal of its runtime panning through various grim tableaus within the dollhouse where the “Smithsmith” family is menaced by a sinister head.
… and that is pretty much the episode. A little girl watches a doll family menaced by a sinister head and finds all her efforts to stop it fail. There are legitimately creepy moments in the story that are peppered with an absurdity that just works. The continual trauma of these dolls is so incredibly messed up and compelling to watch. The fact that viewers have so much concern over the fates of these dolls is the biggest joke of the episode, complete with a wonderful sight gag of the young girl dressed for mourning by the end of the story.
“The House of the Head” was a masterclass in making an episode of horror television on a budget using a strange concept. (4.5 / 5)
The Creep Factor
Of the two tales presented for the first episode, the clear winner is “The House of the Head.” Ambition exceeded results in the night’s first story, “Gray Matter” which buckled a bit under the amount the it sought to achieve. “Gray Matter” would have benefited greatly from being a full hour of television.
“The House of the Head,” however is lean, creepy, and bleakly hilarious. The images of the dolls being menaced by a sinister head are equally chilling and absurd.
Also, kudos to the production team for the wonderful Creep himself who adds a delightful macabre to the framing of the episode. He’s not Crypt-Keeper, but there are some fun little jokes and gags to be had; such as the Creep crushing a beer, for example.
We hope that you enjoyed our coverage of the first installment of Shudder’s Creepshow. Creepshow will air on Thursdays around 9 PM EST on Shudder. Haunted MTL will be covering the whole 6 episodes of the first season.
Movies n TV
The Beach House, a Film Review
The Beach House (2019) is a body horror film directed and written by Jeffrey A. Brown starring Liana Liberato, Noah Le Gros, and Jake Weber.
The Beach House (2020) is a body horror film directed and written by Jeffrey A. Brown. This film stars Liana Liberato, Noah Le Gros, Jake Weber, and Maryann Nagel. As of this review, this film is only available on Shudder.
Desperate to rekindle their strained love, Emily (Liana Liberato) and Randall (Noah Le Gros) escape to a beach getaway. They soon learn to find that family friends of Randall’s father, Mitch (Jake Weber), and Jane (Maryann Nagel), also had a similar idea. After getting used to each other, a mysterious fog engulfs the town. Unfortunately, they realize too late the danger they find themselves in.
What I Like
Body horror gets under my skin, and The Beach House certainly lives up to the standard. There’s something magical about creatures terraforming your body to their preferred environment, turning humans into nothing more than conscious prisoners in their own flesh. While I wouldn’t consider this film the most traumatic or unsettling example, it utilizes wonderfully grotesque scenes.
Aside from the body horror, the film drops a few Cosmic Horror–or Lovecraftian–vibes that go together perfectly. Another favored genre of mine, this combination ensures the odds are overwhelmingly against our human leads.
Beyond the grotesque, visuals might not overwhelm but certainly succeed in their goal. Several scenes provide an intentionally tranquil experience that contrasts with the grotesques and improves their effectiveness.
In terms of performance, each actor hits their mark. While some roles require less effort, each contributes to the plot as intended. The standout performance goes to Liana Liberato’s Emily, who acts as co-lead. She simply has the most to work with and lives up to the part.
Tired Tropes and Trigger Warnings
As “body horror” should indicate, this film will hit hard for the more squeamish viewer. While horror by nature has some amount of grotesque, body horror brings that grotesque to the next level. While I don’t particularly find The Beach House hitting harder than its competition, it certainly respects its chosen genre.
What I Dislike or Considerations
A few scenic montages may hit or miss depending on your interpretation. While I have my own theories, that speculation goes beyond the scope of this review. Many of these scenes overlap more philosophical conversations and musings that may annoy or add layers. This strategy seems a common practice in Cosmic Horror, which forces characters to rationalize the irrational.
It’s hard for me to understand how secretive or known this event is supposed to be in the film’s world. Individuals know something outside of the town, with evidence implying governmental knowledge. This information creates a contrivance–perhaps, even a plot hole–because the characters had to reach this isolated town without any opposition.
One of the visuals didn’t exactly grab me. While I won’t go into too much detail, an effect looked too visually similar to a common animal that barely survives rain. It’s hard to be threatened by that. It also doesn’t exactly match up with some of the other visuals. Even the creatures that look similar to it still look different enough to provide a more alien assumption.
There are moments when the infected chase our main characters by crawling at them. While the context works, with injured characters helping to sell them, I can’t help but find these scenes amusing as opposed to frightening. Yes, it’s certainly visually different from the plethora of zombies out there, but it’s also less frightening than zombies that leisurely walk to their targets.
The Beach House combines cosmic and body horror to create an uncomfortable film that tests its characters. For those who enjoy these genres, it will certainly entertain you, but I doubt it will frighten you. I imagine the mood to watch it again might strike me, but I’m not entirely certain it will stand the test of time. (3 / 5)
If this movie suits your fancy and you want more, Honeymoon seems an appropriate recommendation.
Movies n TV
Every Secret Thing, a Film Review
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener, based on Laura Lippman’s novel.
Every Secret Thing (2014) is a crime thriller directed by Amy J. Berg and written by Nicole Holofcener. This R-rated film stars Diane Lane, Danielle Macdonald, Dakota Fanning, and Elizabeth Banks. Based on Laura Lippman’s novel of the same name, the film adaptation is accessible through MAX and DirecTV.
When a little girl goes missing, Nancy Porter (Elizabeth Banks) spirals into an all too familiar tale. As pressure mounts, Alice Manning (Danielle Macdonald) and Ronnie Fuller (Dakota Fanning) become the leading suspects. The strained frenemies unravel under the attention and reminders of their shared past.
What I Like
The film unravels in a non-chronological structure but makes it easy for the viewer to follow. It helps that the age difference clearly divides the younger actors, who change actors. One casting choice resembles their older counterpart, and the acting reflects a strong direction for their shared role.
Unreliable narration remains expertly communicated with scenes that change perspectives depending on whose perspective we view them from. This choice adds a reason to view the film twice, providing extra ambiguity for some of these events.
The camera gets up close and personal to an uncomfortable degree, which almost certainly presses the actors’ performances. This choice places the viewer in the character’s perspective and limits us from others’ perspectives to add extra credence to these biases.
Every Secret Thing provides a spiraling mystery that unravels with several twists and turns. Assuming the novel provided the outline, this film executes these points and keeps a consistently engaging experience throughout the runtime.
Tired Tropes and Trigger Warnings
Child abuse and neglect remain the central plot points of Every Secret Thing. Little of this abuse appears in scenes, but there is no escaping the danger children are in throughout the film.
Self-harm and suicide are shown throughout the film (once in the case of suicide) through one specific character. It isn’t glorified or romanticized nor addressed with particular sensitivity. For those sensitive to these subjects, it might be triggering.
Racism, the assumed motive for the bi-racial victims, plays a small role in the film’s narrative. However, character motives remain more complex, but going further spoils some elements. This film decision does create the reality that bi-racial children are the victims of child neglect and abuse in the film with little additional context. It does invite uncomfortable speculation, but speculation it would be.
Sexual assault is another concern for viewers, specifically statutory rape. This issue seems particularly mismanaged, considering the survivor remains an antagonist. One can be both survivor of assault and an antagonist of a film without needing to discredit the assault. While little appears of this issue, and the manipulation angle can indicate a perspective shift, it’s hard to refute how the film wants to represent this attack.
What I Dislike
Loosely tied to the above point, one character seems mentally off and purposely so. This point doesn’t inherently create an issue, but there seems to be a choice to make this character a mastermind. Perhaps this is better addressed in the book, but the execution is far from perfect here.
A newspaper montage reveals essential information which feels oddly misplaced. Practically the entire setup for the film appears through this montage, which creates the necessity to read these headlines in the minimal time given.
As a horror, nothing but the events are haunting. Children being abused or kidnapped always haunts, but the terror of this remains secondary to the mystery. While the mystery is nice, this film won’t particularly scare the seasoned horror fan.
Every Secret Thing unravels a mystery of opportunism, selfishness, and deception. While the movie won’t haunt the viewer, it certainly unravels a mystery that shocks them. The nuanced and deceptive characters add a layer of engagement that creates a unique experience, but I doubt this movie will linger in my mind.
(2.5 / 5)
Movies n TV
Quid Pro Woe
We’ve now reached episode six of Tim Burton’s Wednesday. And after the last episode, this one did not disappoint.
We start with Wednesday attempting to contact Goody Addams. Last episode, if you’ll recall, Morticia explained the difference between a psychic dove and a raven. Since Goody Addams was the last raven psychic in the family line, it’s got to be her that trains Wednesday.
But her seance is a failure, and Wednesday is interrupted by a magazine note shoved under the door. It says to meet someone at a crypt for answers.
When she gets there, it turns out that her friends have put together a surprise birthday party for her. Before she can cut the cake, however, she has a vision.
Goody Addams tells her that she must find a specific gate. After some investigation, Wednesday discovers it’s the gate to the old Gates house.
Wednesday goes to investigate, but she isn’t the only one. She is nearly discovered by Mayor Walker. He is also investigating the Gates family, even though they’re all reported to be dead. He leaves a message for Sheriff Galpin and is almost immediately run over by a car.
This incident is enough to get Wednesday’s town villages revoked. Though this seems like an empty punishment since the whole school is on lockdown. Someone burned Fire Will Rain on their front lawn.
Wednesday isn’t one for believing the rules apply to her. She has it in her head that she’s meant to save Nevermore Academy, probably from whatever descendent of Crackstone who’s still around. So she has no problem lying to Enid and Tyler and convincing them to help her sneak off campus and explore the Gates house further.
This, of course, is an incredibly informative trip. The kids find a hidden altar to Crackstone, as well as the missing body parts from the monster’s victims. They also find evidence that someone’s been staying in the house. Someone who’s staying in what looks like a little girl’s room.
Before they can find anything more, the monster finds them. They barely escape, and go to the sheriff with what they find.
Of course, the house has been cleared out by the time Sheriff Galpin arrives. Furious that his son was almost killed, he tells Wednesday to stay away from him.
Because that always works, right?
Galpin isn’t the only one angry. Enid is fed up with the way Wednesday has been treating her. And so she leaves their room to bunk with someone else, leaving Wednesday alone.
This episode was well done. The discoveries at the house were exciting, and I’m almost sure I know who’s behind the murders at this point. Overall, this was a good ramp-up to the season finale.
Finally, this episode did something I was worried just wasn’t going to happen. And for that alone, it deserves praise.
Wednesday has been incredibly selfish and inconsiderate since the first episode. She’s been rude and demanding towards Thing. She’s ignored her friends’ needs and emotions while insisting they put themselves in danger for her investigation. She has respected no one’s boundaries, even while other people have at least tried to respect hers.
And now, it’s finally come back to bite her. All of the people who have been doing their best to show her kindness and support are finally done with her bullshit.
Yes, this is a good thing! Characters are best when they’re allowed to learn and grow. When they don’t come to us flawless. When they mess up and learn from it. Especially for a show aimed at kids, this is essential.
If you’d asked me at the beginning of the season if this character was going to experience honest character growth, I’d have assured you it would never happen. Much to my surprise, it’s happening. I hope that Wednesday is going to come out of this a better person. With two episodes left in the season, there’s plenty of time for that. (4 / 5)