Welcome to Haunted MTL’s ongoing coverage of Shudder’s original series, Creepshow.
“All Hallow’s Eve”
Directed by John Harrison, and written by Bruce Jones, “All Hallow’s Eve” is a nice, classic slice of anthology storytelling. While nothing revolutionary, it delivers a creepy, moralistic revenge story with some interesting flourishes. The cast includes several young actors to play vengeful trick-or-treaters. These actors include Connor Christie, Madison Thompson, Jasun Jabbar, Andrew Eakle, and Michael May.
John Harrison’s attachment to the project is interesting. He was a frequent collaborator with George A. Romero. Alongside Romero, Harrison worked on Knightriders, the original Creepshow, and Day of the Dead. Bruce Jones has a comic-book background having written for Warren Publishing’s Creepy and Eerie. Additionally, Jones also wrote for the USA anthology series The Hitchhiker.
The segment was, for lack of a better word, fine. It’s by no means a bad segment, quite the opposite; the story is creepy and it is an overall effective little slice of horror. The issue lies in how predictable the tale was. The second story of the evening also had a lot of forecasting, but something about “All Hallow’s Eve” delivered no real shocks, or even stakes, for that matter. Once the central conceit is figured out rather early on you know exactly how the story will play out. Visually, the episode was solid, but it felt a lot like a PG13 take on something you’d see on Are You Afraid of the Dark?. Creepshow is a low-budget show, and it is really felt in this segment. Right down to the fire effects during the treehouse scene.
“All Hallow’s Eve” is standard anthology fare. It’s not the most exciting segment in the season thus far, but it’s not like it is terrible. Anthology series live or die by their weakest segments, and judging by the quality of “All Hallow’s Eve,” Creepshow has nothing to worry about so far. It’s good. It’s not just living up to the highs of previous installments.
(3 / 5)
“The Man in the Suitcase”
Directed by David Bruckner, and written by Christopher Buehlman, “The Man in the Suitcase” is a grimy, one-room play about the power of greed. The segment stars Will Kindrachuk, Madison Bailey, Ravi Naidu, Ian Gregg, and Antwan “Big Boi” Patton.
Bruckner has a few directorial credits including the Netflix original The Ritual. He also directed the “Amateur Night” segment from V/H/S which was later spun off into the film Siren, though Bruckner only produced the latter. Buehlman is a playwright poet, and novelist, known for The Suicide Motor Club and The Lesser Dead.
“The Man in the Suitcase” lays itself out very clearly right away with little glimpses of Djinns and genies. Whereas the hints in “All Hallow’s Eve” felt detrimental to the stakes, being aware of what is to come in “The Man in the Suitcase” amplified the tension. Djinns are capricious spirits and being aware of the presence of a Djinn in the story means you are waiting to see exactly how the story will play out. The whim of a Djinn creates a certain uncertainty and it’s that uncertainty that makes the second tale work compared to the first one.
It helps that there is a certain mean-spiritedness within the segment that lines up with just how I, personally, like my Creepshow. The best stories in the franchise are the most fucked up. “Something to Tide You Over” from the first film, or “The House of the Dead” in the first episode of the series are mean, mean little stories. “The Man in the Suitcase” is one of those sorts of stories. It also has some kickass puppet work, which might be one of my favorite aspects of this first season: the embracing of practical effects.
“The Man in the Suitcase” is lean, mean, dirty, and right up there with the series high of “The House of the Head.” It is most definitely a Creepshow highlight and is my current second-favorite segment so far.
(4.5 / 5)
The Creep Factor
The comic-book effects were a little toned down this week, we’ll see if it represents a one-off situation, or a course correction compared to previous episodes. The comic transitions are fun, but eat up a lot of screentime in previous episodes. As someone who also tends to like to read everything on the screen, I am a bit annoyed that I am missing some valuable text as the camera moves from panel to panel.
The opening with the Creep hard at work on his pumpkin, before being rudely interrupted has definitely been the best bit by far. That pumpkin made with human bits is a work of art.
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.
The Dead Take the A Train Review: Queer Magic and Monster Mayhem
“Julie crawled onto the table, straddling her intern, both hands around the knife. She torqued it downward, cursing. Brad shrieked harder.” -pg 57, The Dead Take the A Train by Cassandra Khaw & Richard Kadrey
The Dead Take the A Train is the first book in a duology by authors Cassandra Khaw and Richard Kadrey. It was published in 2023 by Tor Nightfire (like the Scourge Between Stars, which I reviewed here). I was not previously familiar with Kadrey’s work, which most notably includes the Sandman Slim series. However, I was introduced to Khaw through The Salt Grows Heavy (review here), which I absolutely adored in all its twisted, gory glory. Therefore, I was thrilled to pick-up The Dead Take the A Train, which promised similar heart in a modern cosmic horror package.
In The Dead Take the A Train, a magical fixer named Julie must hunt down eldritch monstrosities threatening the lives of those around her. To do this, she has to go up against her shitty ex, a questionable angel, finance executives, and her own sobriety. When an old friend shows up, Julie is terrified to find herself making a retirement plan that doesn’t involve getting murdered by a demon.
The Dead Take the A Train is reminiscent of N.K. Jeminsin’s The City We Became, with both featuring queer characters tackling eldritch horror plots in New York City. In the same way, the novel was reminiscent of a gorier version of Dimension 20’s Unsleeping City actual play series. However, it clearly carves out a space for itself among the droves of cosmic-horror inspired love letters to New York City. For one, it is mostly unconcerned with borough beef, which (not to sound like a curmudgeonly Midwesterner), is so refreshing. The book also has a relatively novel way the world works, which helps it stay memorable.
Overall, I really liked The Dead Take the A Train. First off, the characters are fun and easy to root for. Julie is a mess in pretty much every aspect, but her bad decisions are understandable and she is charismatic. Her romance with her friend, Sarah, also serves to make Julie more likable. It helps that the villains are so easy to hate too. What’s not to hate about rich Wall Street assholes engaging in human sacrifice? Speaking of which, I liked the juxtaposition of corporate Wall Street and cosmic cultists. The actions taken were evil, but more importantly, they were just business.
The prose was flowery, but not quite as much as in The Salt Grows Heavy. So, if you struggled with Khaw’s other works for that reason this may be a much easier read. Personally, I enjoyed the prose in both. There is quite a bit of gore in The Dead Take the A Train, but I didn’t find it to be overwhelming. I think you could still enjoy the book if you don’t love gore, though maybe not if you have a weak stomach.
One of the largest issues I have with The Dead Take the A Train, is the lack of clarity in power levels of the various characters. Especially since all their forms of magic work in different ways, it is sometimes unclear the level of danger present. This can also sometimes create room for plot holes. For example, Julie has a friend who is tapped into anything and everything happening online. This is an absurdly powerful ability (and is used as such). But there were moments where the main conflict probably could have been avoided or solved using that power. It also felt odd that no one else in this thriving magic community felt strongly about stopping a world-ending catastrophe. Because of this, the magic underground of NYC could feel smaller than I think was intended.
Having been familiar with Khaw’s work previously, The Dead Take the A Train clearly feels like a mix of Khaw’s style with someone else’s. This could be a boon or a hindrance, depending on your view of Khaw’s distinct prose and storytelling. Either way, if you are interested in learning more about the process or the authors, check out the interview they did for SFF Addicts Podcast!
I recommend The Dead Take the A Train, especially for those who are fans of modern urban eldritch horror. The book is an even bigger steal if you are looking for danger, gore, and queer characters. Check it out! And keep your eyes peeled for the next book in this duology.
Dolores Roach, A Fillet of Left Cheek
The second season of Dolores Roach started with a bang. The first episode was dark, gristly and in a strange way whimsical. It certainly brought to light new elements of the character.
We begin our story with Dolores somewhere, talking to someone. I’d like to be more specific, but that’s all we know right now.
She tells this unknown person about her flight from Empanadas Loco. How Jeremiah killed Luis. How she, whether she meant to or not, killed Jeremiah. How she then set the building on fire by blowing up the fryer in the kitchen.
Scared and alone, Dolores then ran for the underground. Dragging her purple massage table she runs into a hole in a subway track and finds herself in a whole different world.
Almost at once, she finds a place where someone is living. There’s a hot plate, a kettle and several packets of ramen. Even better, everything has Jeremiah’s name on it, literally written on it. Exhausted and alone, Dolores makes herself a cup of ramen and goes to sleep on her massage table.
She’s woken sometime later by a small man named Donald. He knows her because he knew Jeremiah. Dolores proceeds to tell him an abridged version of events that led up to Jeremiah’s death. And by abridged, I mean she blamed Luis for everything, throwing him under the bus so hard I’m surprised she didn’t pull something.
Donald seems inclined to help Dolores. He tells her that if anyone messes with her she should go further down, down a stairwell that he points out for her.
Dolores thanks him, then tries to go back to sleep. She’s soon woken again by a young woman collecting Jeremiah’s things.
While Dolores has an issue with this, she’s willing to let it go. Until that is, this woman tries to take her table. Then, Dolores does what she does best. Because one thing is for sure. Dolores is going to take care of herself.
One thing I love about this series so far is that our main character, Dolores, is crazy. And hearing her rationalize her crazy is both terrifying and fascinating. I hate/love how sweet and soothing she can be. Even with the rat that she killed in this episode. She cooed at it, encouraging it to come to her, even calling it a subway raccoon.
Then she killed it and started crying.
I also love the underground community. It’s both horrific and whimsical. It reminds me of Neil Gaiman’s Neverwhere, which is full of worlds most people don’t see but are all around us. It’s also horrific because there are so many people that our society has failed, that they’ve gathered underground and made their own little society. That’s not great. There just shouldn’t be that many people who need homes.
What didn’t work
Unfortunately, this episode did have two major flaws. And the first one is a personal pet peeve of mine.
In the last episode of season one, certain things were established. Dolores said she was carefully rationing her weed. She said she didn’t have anything to eat since coming down to the tunnels. She still had her massage table. This episode rewrote a lot of that.
Frankly, I hate when stories do that. It may or not make a difference to the story. It just strikes me as poor planning and lazy writing. This show has proven it’s capable of doing better.
All things considered, I thought this was a great start to the season. I’m invested in the story, curious about the new characters, and worried about the well-being of everyone Dolores comes in contact with. And that’s all as it should be.(3.5 / 5)
By the way, if you like my writing, you might want to check out my latest sci-fi horror story, Nova. It’ll be released episodically on my site, Paper Beats World, starting February 5th.
The Golem (2019), a Film Review
The Golem (2019) is a folk horror film directed by Doron and Yoav Paz, starring Hani Furstenberg and Ishai Golan.
The Golem (2019) is a folk horror film directed by Doron and Yoav Paz. The cast includes Hani Furstenberg, Ishai Golan, Kirill Cernyakov, and Brynie Furstenberg. As of this review, the film remains available to Amazon Prime and fuboTV subscribers with additional purchase options on other platforms.
Set in 1673, a small Jewish community faces hardships from others as the Black Plague spreads. When these hardships reach a boiling point, Hanna takes matters into her own hands. Having secretly learned to read, she seeks to perform a ritual that would create a protector for her people. Yet, this act brings about a steep cost.
What I Like about The Golem
The film received three nominations in 2019. These nominations include Best Actress, Best Sound, and Best Cinematography from the Award of the Israeli Film Academy. While The Golem wouldn’t win these awards, the nominations indicate a strong film.
I won’t claim to know the accuracy and intricacies of the golem in relation to its religious origin, but the film certainly brings to life its concept. The effort to create such a creature and the toll it takes from the summoner create an emotional throughline for viewers to follow.
Hani Furstenberg’s Hanna and Ishai Golan’s Benjamin bring a complicated but realistic relationship to the film. Viewers see the love between them, even as their own society attempts to cast them from each other. They feel like a couple who understand the other’s wants and needs. However, we begin to witness the decaying of this relationship.
Hanna, specifically, provides a complex character that incentivizes the viewers to root for and against her at different points in the movie. Though she navigates blatant sexism and discrimination, she remains far from flawless. These flaws and ambitions establish Hanna as an interesting character.
The Golem can be brutal. This film provides a period-accurate look into antisemitism and systemic oppression, which certainly evokes a different form of horror. However, the golem itself brings brutality through its smiting.
Tired Tropes and Triggers
As the film deals directly with systemic issues of 1673, understand that antisemitism, sexism, and hate crimes remain important elements within the film.
An assault leads to a miscarriage, which seems a point worth mentioning for potential viewers who are sensitive to such points. Fertility and bodily autonomy, generally, also play roles within the provided film.
If any of these are potential issues for your viewing experience, perhaps skip The Golem.
What I Dislike about The Golem
Aleksey Tritenko delivers a wonderful performance for an interesting antagonist, but the role of Vladimir serves limited purposes. In many ways, he’s the representation of his societal antisemitism. While this remains perfectly valid, he somewhat disappears from the narrative until he becomes relevant. His marauders should be an oppressive threat within the society, looming over it with malice.
I can’t deny the lack of intimidation the golem’s aesthetic brings. While some films evoke an eeriness through silent children to horrific effect, this didn’t sit well with me. It should be eerie, but something was missing in execution.
The Golem focuses on a more human horror than the supernatural elements might suggest. While not a direct critique, prepare your viewing expectations accordingly. The Golem remains a folk horror film, using the folk story to represent human evil and flaws. It won’t particularly haunt you with the gore.
The Golem brings the old legend of the golem folk story to life. If you thirst for a human horror that shines a light on the flaws of the people within, The Golem might satisfy you. However, it’s not a particularly frightening film, choosing instead to tell a story of loss and overcoming suffering. (3 / 5)