Welcome to Haunted MTL’s ongoing coverage of Shudder’s original series, Creepshow. Tonight featured two segments, a genuinely great tale in the classic sort of horror anthology and weird tale mold. The other was a half-cooked, scattershot revenge story that really showcased the budget-crunch of Creepshow. It was a half-hour of undead highs and lows this week.
“Night of the Paw”
John Harrison, a Creepshow veteran, returns to direct this classical tale of wishes gone horribly, horribly wrong. This is, by far, the most stylized segment on the series thus far, and really took advantage of the comic book theming of the overall show. This is, sadly John Esposito’s first written episode of the series, but with any luck, he will be back more than once in season two. This episode is just that good.
The episode really has two principal actors; Bruce Davison and Hannah Barefoot spend most of the episode together, though other credits include Susannah Devereux and Ryan Clay Gwaltney. Graze Toso also deserves a nod for her work as zombie Marjorie. Bruce Davison is a veteran actor of film and television who is a real get for the episode who really sells the character of Avery.
The episode has a feeling of artifice that runs through it, though this is not a bad thing. The cemetery of Avery’s tale looks like a set, “action” scenes are instead tackled through comic book panels, and the color and lighting are tailored to emphasize the artificial nature of the episode. This feels very much like something from an E.C. Comic brought to life, as though panels were made three dimensional.
The story is nothing extraordinary, as it is the trope of the Monkey Paw after all. Why the segment works so well, however, is that the performances of Davison and Barefoot are magnetic in telling such a dire tale of wishes gone bad.
This could have easily been a segment in the first Creepshow film. It is that good.
While nothing about “Night of the Paw” is really all that surprising or shocking (with the exception of the cutting off of two broken fingers, wow) it still works. The segment plays out exactly as you would expect, but that doesn’t matter because it’s just so satisfying to see it all play out.(4.5 / 5)
“Times is Tough in Musky Holler”
Unfortunately, the second segment of the night might be the weakest link in a generally strong season. It’s incredible considering that John Harrison directed this segment as well. The segment, written by John Skipp and Dori Miller just does not deliver outside of delivering some good gore. The episode stars Dane Rhodes, Karen Strassman, Tommy Kane, Tracey Bonner. David Arquette is also along for the ride.
When zombies rise in the world, possibly due to the final wish of Angela from “Night of the Paw,” the worst sort of people take it upon themselves to spread their will over the people around them. “Times is Tough in Musky Holler” ends up being a small revenge story at the end of a brutal regime that was instituted by a used car salesman in the post-apocalyptic world.
This zombie story is more Z-Nation than The Walking Dead, however. Nobody really comes off as particularly interesting and what little glimpses of the regime’s brutality render largely as just… there. The punishment used by society, fittingly the last time it will ever be used, is comical in its cruelness. But it is a payoff that never really feels greater than an excuse to try a new effects technique in which a zombie rips off a human face.
Granted, it is a very well done kill, and it is the highlight of that segment. The problem is, the segment feels more like it was written around the idea of “how do we have a zombie rip this someone’s face off? The episode features a whole host of representatives of the previous regime, but they get little to do. David Arquette is particularly wasted.
As a whole, the segment feels a bit more like an effects school student’s short film than an anthology tale.
Either the team needed something very short to fill in the episode behind “Night of the Paw” or the temptation to rip off a person’s face was far too great. In either case, this might be the weakest segment on the show.(2 / 5)
The Creep Factor
There was surprisingly little of the Creep this week. The episode was bookended near entirely with animation and the wonderful Creep animatronic is nowhere in sight.
It pains me to say this as an animation fan, but the animated segments of Creepshow largely do not work. The animation itself is decent enough, but the illustrations feel very flat. This is likely due to the shading style. For the inevitable season two, I would prefer to see the show moving away from this style or at least give the illustrations a more comic-book appropriate coloring style.
Or better yet, just use that fancy-ass animatronic Creep!
We hope that you enjoyed our coverage of the fifth 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.
Most true crime content includes a dramatic courtroom scene. Two dashing lawyers face off, defending their clients no matter how gruesome their crimes were.
While there was a courtroom scene, it wasn’t exactly what I expected. It’s something that, again, I don’t think I’ve seen before.
As the title would suggest, most of this episode was from Lionel Dahmer’s point of view. And Lionel, it should go without saying, is not in a great place right now. His son, who he loves, is in a hell of a lot of trouble. And Lionel is doing his best to make this whole mess not his fault.
The fault, as far as he’s concerned, lies with Joyce. It should be no surprise to anyone that Joyce doesn’t agree. She’s been doing her best to distance herself as much as possible from her oldest son and former husband as possible.
This doesn’t work, as reporters find and hound her just the same.
With Jeff in jail, an angry population doesn’t have anyone to turn their anger on, except Jeff’s family. And they are all getting harassed. Jeff’s grandma, suffering from dementia, is having her home raided by the police. People are coming forward, claiming to be Jeff’s friends from childhood. We know that’s a like, Jeff didn’t have any friends. Accusations are flying against Lionel, that he sexually abused Jeff when he was a little boy.
All in all, it’s hard to not feel bad for the Dahmers. Yeah, they were bad parents. They made some pretty serious mistakes. But honestly, no more than lots of parents. And most people don’t go on cannibalistic murder sprees.
Now, to the court scene. Honestly, this was so hard to watch.
Dahmer’s attorney tried to convince him that he can plead insanity like Ed Gein. On the off chance you don’t know who Ed Gein is, he’s the notorious serial killer who inspired both Norman Bates and the Texas Chainsaw Massacre. He killed women who resembled his mother, cut them up, and did stuff to them. And yes, just like it says in this episode when he was caught he sold himself out for an apple pie with a slice of cheddar cheese on top.
Gein spent the rest of his life in a mental ward, and Lionel would like to see the same for Jeff. It’s hard to argue with him.
But that argument fails. And before sentencing, the families of the victims are allowed to speak.
They have a lot to say.
This is what I meant when I said the courtroom scenes were unusual. We saw non of the actual trial, it was hopped right over. This is normally a dramatic moment in true crime shows. Instead, we see the impact that these murders had. Dahmer’s actions destroyed his family. He destroyed the families of the people he killed.
There is so much collateral damage when a life is lost. And that, I think, is what this episode is truly about. The extensive, heartbreaking collateral damage of Jeff Dahmer.
With Dahmer sentenced to fifteen life sentences, I’m honestly not sure how we still have two episodes to go. One I could understand, but two seems a bit much. I’m hoping that the creators have some additional chapters of the story that we haven’t yet explored.
I guess we’ll have to see.(3.5 / 5)
“The Menu” Gives Us A Bloody Good Time
Writers Seth Reiss and Will Tracy have outdone themselves with the plot of “The Menu.” Spoilers ahead!
Tyler and Margot are attending a high-class restaurant located on a remote island for the meal of a lifetime. This meal comes at a steep cost: thousands of dollars ($1,250 a plate to be exact) as well as possibly your life. Those who attend the dinner at Hawthorne are the type who frequently ask: “Do you know who I am?”
Chef Julian does not care who you are, and after years of serving the privileged elite, he has had enough. Julian commands his chefs and the room with a loud clap, his chefs answering him in tandem with a bone-chilling “yes, chef.” Ralph Fiennes as Julian gives a shiveringly scary performance. Julian commands the space as well as everyone in it and Ralph Fiennes is dastardly, dark, and daunting.
Chef Julian’s sidekick is creepy herself, doing his bidding just as the other chefs do. Female subservience is addressed through this side character as well as sous chef Catherine, who created one of the courses that is served to the guests.
This course is introduced by Catherine telling the story of how Chef Julian tried to have sexual relations with her. When she denied him, he refused to look at her in the eye anymore. Before Catherine serves her dish, she stabs Julian with scissors in the thigh, getting revenge for his behavior. Julian acts none the wiser, pulling the scissors from his thigh before serving the diners the hunk of meat with the same kind of scissors plunged into it.
Everyone obeys Chef Julian except for Margot. Women and men in the room accept that this is their last night alive, not protesting too hard or trying to escape. Margot is the only fighter. Perhaps this is why she escapes.
In a world where we have seen a rise in slasher films, The Menu lives in a place between darkly satirical horror and a slasher film.
The Menu is whip smart, remarking on our class system, displaying those who can afford a $1,250 a plate meal on a remote island against the thought of the character of Margot. Margot is revealed halfway through the film to have been a sex worker, hired by Tyler to attend the dinner. His girlfriend, the original intended guest, had broken up with him and Tyler knew that there was never a table for one at Hawthorne.
Tyler knew everyone would die at the meal, yet still involved Margot, an innocent bystander who turns out to be the only one that makes it out alive. Chef Julian does this as it is clear he believes Tyler tainted his final menu experience by not bringing the guest who RSVP’d.
Tyler gets what is coming to him in the end. He comments on each course in mostly negative ways and snaps photos (which was expressly forbidden). Chef Julian asks Tyler to make him a meal since he knows so much more than anyone about cuisine. When Tyler’s meal doesn’t live up to Chef’s expectations, he is killed.
Margot is juxtaposed with the famous and rich at the dinner who can afford such an experience while she is being paid to attend. The film remarks on the lavish actions of the rich in the movie versus those who may not know where their next meal will come from.
The food that the film shows is gorgeous and conceptual, Chef Julian giving backstory to each dish. The film is the darkest version of Hell’s Kitchen I’ve ever seen. As a foodie and a horror lover, this film touched on all my favorite genres. It was deep, had something to say, and screamed it at the top of its lungs.
I respect the filmmakers and writers of this movie as it was compelling, engrossing, and kept me guessing, all while remarking on important social themes.(5 / 5)
Episode seven of Netflix’s Dahmer brings the spotlight, finally, to the hero of our story. Glenda Cleveland.
Glenda was Jeff’s neighbor. And honestly, I can’t think of a worse neighbor. A horrific stench is always coming from his apartment. He has people over, and they make a lot of noise.
While they’re dying.
If you’ll recall episode one of Dahmer ended with all of his neighbors, including Glenda, being forced to leave their homes. The whole building was declared a crime scene. They’re not given any place to go, of course.
Everyone’s got a few thousand dollars socked away for an unexpected motel stay, right?
Fortunately, Glenda was able to get a motel room. And that’s where she is when Reverend Jesse Jackson finds her.
Glenda pours out her story to Reverend Jackson. The rest of the episode consists of her dark and troubling encounters with Dahmer.
The most compelling scene, I think, is when Dahmer brings Glenda a sandwich. He’s being evicted, and he knows it’s because she’s been complaining about the smells coming out of his apartment.
He tries to pour on his little boy charm. He tells her that he got his apartment cleaned, just for her. He brings her a pulled meat sandwich as a present.
Notice I don’t say pulled pork, because I’m fairly sure it was human meat. Or, it was just drugged.
This episode just hummed with tension and rage. I was so happy to see Reverend Jackson tear into the police in the most polite way possible. I hated seeing what Glenda went through. And even though I know she lives through this horrific encounter, I held my breath the entire time she was alone with Jeff.
Dahmer is certainly not afraid to jump back and forth between the past and present. But they are careful to never do it in such a way that I felt lost. And I honestly think this was the best way to do it.
The reason for this is that it adds a level of suspense that Dahmer might have lacked without it. Suspense is something that true crime stories can lack. Especially well-known ones. We have heard this story before. We know how it ends. But in presenting the tale this way, first from one point of view and then another, it reveals sides of it that we may not have seen before.
I loved seeing the story from Glenda’s point of view. She was brave, determined, and selfless. She had every right to be furious at the way the police dismissed her concerns for years. And yet she continued to handle everything professionally. She never stopped trying to help people, even when no one else seemed to care. And for that, she is a true hero.(4 / 5)
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