creepshow house of the head summary

Being made for the small screen, “Gray Matter” features small sets and a small cast, but puts big talent on both sides of the camera. But the teeth to those themes wear down to nubs as the circular tête-à-tête between the two argumentative women goes on longer than makes sense for the setup. Weirdly, The Creep isn’t even onscreen when the best bit happens, which partly contributes to the ADR comedy. The Companion; Lydia Lane's Better Half, Fall TV Preview: A Guide to New & Returning Broadcast Shows. Harold defends himself with Brenner’s cane, which causes the creature to recoil. Because it would be foolish not to, “Creepshow” of course retains the key creative characteristics brought immediately to mind when one fondly remembers 1982’s golden granddaddy of anthologized horror. The real Champy mourns the smaller creature before pulling its body back into the water. First impressions are that old was good and with some slight changes this show is better. As much as “Creepshow” reincarnates the spirit of its feature film namesake, it’s also an heir to the syndicated ‘80s TV anthology “Tales from the Darkside.” I might even argue this series may be more “Darkside” than “Creepshow,” and “The House of the Head” offers evidence for that assertion. It featured episodes associated with his stable of regular collaborators like Tom Savini, Stephen King, and John Harrison, who comes back to the block 35 years later to helm “The House of the Head.”. I’m not normally someone with the gall to gate-keep what sexes or ethnicities are best qualified to handle certain subjects. Billy wakes to the helpless horror of Harold commanding the scarecrow, who is now under his control, to attack Billy. The contentious encounter between the two women turns physical. Cecilia angrily accuses Lydia of being a fraud who only pretends to support female empowerment. Until the year later appears commemorated in a carving, you only get a sense of the setting because a radio sportscaster mentions the Supersonics, a man without grey hair recalls serving in ‘Nam, and a teen boy has an unusual obsession with Rambo. Carla violently strikes Justin in his head. No puppet, no live-action actor, no reason to wonder why anyone bothered to include him in inconsequential clips. Justin recovers in the hospital. Alex and Carla are heard screaming as the djinn presents two empty suitcases. Trapped for 24 hours, haunting visions of Cecilia cause Lydia’s sanity to crack. That’s just as well since he grates every last nerve with a gratuitously goofy country drawl. Disbelieving Whitey’s entire story, Angela throws the monkey’s paw into the fireplace. Authentic exteriors additionally expand the environment while evening out overall atmosphere, far better than something like “Times Is Tough in Musky Holler” anyway. Certain shots even seem meant to directly mirror moments from “The Crate.”. Otherwise, the episode does a decent job of masking many money-related limitations. It’s a fun-size Milky Way bar of miniaturized monster mayhem that’ll fill your belly for a few fleeting moments, even though they’re largely empty calories that’ll leave you hungry for something with true nutritional value. Director:  Roxanne BenjaminWriter:  Paul Dini, Stephen LangfordStars:  Dana Gould, Chad Michael Collins, Hina Kahn, Melissa Saint-Amand, Beth Keener, Jason Graham, Darin Toonder. These are supposed to be throwback EC terror tales in film/TV form after all. “Gray Matter,” and “Creepshow” on the whole by extension, doesn’t go as darkly comedic as the feature film that inspired it. Episode six offers a second full-body look at a live-action Creep and, choosing between the two, an actor in makeup once again wins over the poor puppet. Better horror fans than I will let me know if it has happened before but traditionally if something is haunted and is brought inside a home then that home is subjected to terrors until the end. Well, this show felt like meeting an old pal, that time hasn't aged at all, but in the contrary, was made even better. The original story was from Stephen King way back in 1973, and was adapted by Byron Willinger and Philip de Blasi for this new series. Angela contends she isn’t a murderer, but Whitey counters that he knows the truth about her husband. Pete commands Mrs. Hathaway to turn over her son Eddie while reminding the woman that she cannot harm them and it isn’t their choice to do what they’re doing. Cecilia grabs and holds Lydia halfway as the car starts moving again. But maybe a merely eerie appetizer is an appropriate way to open the series. Christopher Buehlman’s original story keeps intrigued imaginations on their toes by not telegraphing its outcome at the outset. Consumed by flames, Whitey begs for Angela to stop his suffering. The sudden movement decapitates Lydia. A father who lives with his son develops a drinking problem because of grief; A young girl finds a peculiar toy head in her dollhouse. “Times Is Tough in Musky Holler” cuts so many corners, I’m surprised enough material remained to hack together 15-ish minutes of wholly forgettable filler. It took until the third episode, but finally The Creep appears in an intro that actually induces a snicker. The upside is Bruce Davison brings plentiful pathos to his role as a weird widower. Inexplicably, The Smith-Smiths welcome an uninvited guest in the form of a decapitated zombie doll head. His puppeteers might argue his awkward movements are a natural result of rigor mortis. “Skincrawlers” has a fun idea fueling its setup, except it’s essentially limited to laying out tarp for gross-out gags. What’s not to like about the weirdness of “The Man in the Suitcase?” Affable acting embodies slightly cartoonish characters who involve themselves in terrible tactics at an innocent man’s expense. After coming home from a movie, Evie finds the family repositioned again. Was it really that much of a creative challenge to conceive six suitable skits that don’t even constitute two minutes of total time? On second thought, maybe “The Man in the Suitcase” is more “Creepshow” in conception than I originally gave it credit for. Leigh insists Champy isn’t real while reminding Rose that her father William died trying to prove it exists, even though no one in town believed him. In the basement, Harold discovers a cobwebbed corpse. Clark puts the finger in his fridge as a curiosity when it soaks up beer spilled from a bottle of Harrow’s Light. But the final frames come across like a confused copout, as though the story never knew where it wanted to end up from the outset. Instead of liposuction tubing, Dr. Sloan lets a rare South American leech do the dirty work. All Hallows Eve; The Man in the Suitcase, Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by. I appreciate restraint when depicting throwback time periods. Mrs. Hathaway confronts the children with a shotgun. Yet The Creep weirdly wobbles like a wooden dummy whose every movement is made manually. “The Finger” might feel more like “Creepshow” in conception than in execution, but that shouldn’t make it any less entertaining as a sprightly stab of humorous horror. Main Page Latest Movie Reviews Movie Review Archive.

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