Anthology Horror Shows

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Murdoch
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#26 Post by Murdoch » Tue Oct 28, 2008 8:56 pm

Thought I'd revive this thread since it's close to Halloween and I wanted to see how people responded to the 2 seasons of it. I've been netflixing a lot of them and the majority of them have been disappointing (especially Coscarelli's), but I have enjoyed a few such as Argento's contributions, and Deer Woman was hilarious, despite not being particularly scary. My favorite out of the 20 or so I've seen is Haeckel's Tale. Cigarette Burns was a great idea that was ruined in execution because of the subplot with the dead girlfriend and the lead's terrible acting, I just couldn't stand that guy. I appreciated the political ones and I prefer Pro-life out of the ones that tackled specific issues for its great blend of gore and social commentary, and Joe Dante's Homecoming was great.

Overall I expected too much from the series because I came into it expecting masterpiece after masterpiece with such talented contributors, but there were quite a few that left a bad taste in my mouth.

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domino harvey
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Anthology Horror Shows

#27 Post by domino harvey » Sat Oct 31, 2009 12:47 pm

The anthology horror trend peaked and died with the Tales From the Crypt TV series. In retrospect, the series really was a shining example to set the genre by. Taking its cue from previous syndicated horror anthology series, the HBO show admittedly varied in quality and content. But there was a persistent sense of novelty in the casting, filmmakers, and source material that is so far gone in recent attempts, muddled behind fast cuts and shock gore. Even with the freedom of pay cable, the series indulged in graphic violence only to punctuate, not compose, each installment. And most importantly, the series didn't take itself too seriously. It's a shame that in the interim years, all we've advanced to is dreck like the absolutely unwatchable Masters of Horror and this.

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knives
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#28 Post by knives » Sat Oct 31, 2009 2:52 pm

Masters of Horror had many really good episodes, even though I can't think of any great ones.

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Murdoch
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#29 Post by Murdoch » Sat Oct 31, 2009 2:57 pm

I liked Joe Dante's Homecoming, and that one about the woman who has sex with zombies. But overall MoH was a huge letdown.

I saw a clip of Trick 'r Treat with Brian Cox in it and some pumpkin kid attacking him and it had some good parts. I don't really expect a lot from horror movies nowadays, but this one seems like fun.

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Re: Trick 'r Treat (Michael Dougherty, 2008)

#30 Post by domino harvey » Sat Oct 31, 2009 5:11 pm

The Brian Cox segment is a weak riff on an old Tales From the Darkside episode

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Re: Trick 'r Treat (Michael Dougherty, 2008)

#31 Post by mfunk9786 » Sat Oct 31, 2009 11:25 pm

The only good Masters of Horror episodes were Sick Girl and Cigarette Burns.

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Blood Pie
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#32 Post by Blood Pie » Sat Oct 31, 2009 11:29 pm

I actually enjoyed the Miike MOC episode.

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Murdoch
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#33 Post by Murdoch » Sat Oct 31, 2009 11:49 pm

mfunk9786 wrote:The only good Masters of Horror episodes were Sick Girl and Cigarette Burns.
Really? I thought those were awful.

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domino harvey
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#34 Post by domino harvey » Sun Nov 01, 2009 12:18 am

I was going to say, Cigarette Burns was the worst one I've seen

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knives
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#35 Post by knives » Sun Nov 01, 2009 12:25 am

I liked the zombie Hooper one best of those I've seen. I'd say the worst is that stupid vampire one with Ironside in it.

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tenia
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Re: Trick 'r Treat (Michael Dougherty, 2008)

#36 Post by tenia » Sun Nov 01, 2009 11:31 am

I found Homecoming, Cigarette Burns, Haeckel's Tale and Sounds Like really good (especially Sounds Like that was a real surprise for me, the only one really good in the second season).

Then Jenifer, Pick Me Up, Family, Pelts and The Screwfly Solution quite good.

The rest is forgettable.

The 2 Hoopers, Chocolate, Sick Girl, The V Word and the episodes 8 to 13 from the second season are just painfully awful.

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Thriller

#37 Post by HarryLong » Tue Aug 17, 2010 11:37 am

Coming up on August 31, the complete two years of the Boris Karloff-hosted THRILLER.

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Re: TV on DVD

#38 Post by Darren » Fri Aug 27, 2010 12:51 pm

Re music rights effected shows....This may sound silly, but I would have thought that maybe some of these shows would get DVD releases in countries that were not affected/controlled by US copyright laws, and that we could import them.

Is that a reasonable assumption?

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Matt
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Re: TV on DVD

#39 Post by Matt » Fri Sep 24, 2010 1:23 pm

HarryLong wrote:Coming up on August 31, the complete two years of the Boris Karloff-hosted THRILLER.
I've watched a couple of episodes on the first disc of this set. It's a nicely-produced set, lots of commentaries. The show itself is expertly made (very effective use of pre-existing sets and backlot shooting), but the early episodes do lack in the horror department. The plots (at least from what I can tell by the episode summaries) do not contain supernatural elements, or use them only as window dressing (a house appears haunted but it's really just some family members trying to con another family member out of an inheritance). The shows center more around strange murders. It looks like some of the later episodes do stray from this pattern.

The jazzy theme and mid-century modern title graphics are great, though.

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Re: TV on DVD

#40 Post by HarryLong » Fri Sep 24, 2010 2:45 pm

Originally THRILLER alternated episodes between mystery and horror (the horror sometimes being light indeed). The ratings were poor & NBC threatened to cancel the show (which was only put on the air because they owed its Executive Producer air time for reasons I can't recall just at the moment). Instead of being canceled, the show's original line producer was fired and a new one brought in; he emphasized the horror aspects & really delivered some strong meat (there's one episode where they show a guy with an axe buried in his skull). The show became very popular. So popular it was decided that the half-hour Alfred Hitchcock show should be expanded and THRILLER was dumped to make room for it.

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Matt
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Re: TV on DVD

#41 Post by Matt » Fri Sep 24, 2010 2:48 pm

Thanks. Maybe I'll skip forward to some later episodes.

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Re: TV on DVD

#42 Post by Jonathan S » Sat Sep 25, 2010 4:27 am

The Cheaters (Ep.15), directed by John Brahm, is usually regarded as the first great episode. I also like The Prediction (Ep.10), also directed by Brahm, though mainly because it's one of the few to benefit from Karloff beyond the intros.

There's an interesting Thriller-a-day blog by knowledgeable fans of the series.

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Re: TV on DVD

#43 Post by HarryLong » Fri Oct 08, 2010 9:52 am

Jonathan S wrote:The Cheaters (Ep.15), directed by John Brahm, is usually regarded as the first great episode. I also like The Prediction (Ep.10), also directed by Brahm, though mainly because it's one of the few to benefit from Karloff beyond the intros.

There's an interesting Thriller-a-day blog by knowledgeable fans of the series.
I've only begun wading through this box (I may have to resort to Algebra to determine how many episodes I watch a day to see them all and meet my deadline), but I find I'm not exactly disappointed with the early installments. No horror quotient to speak of but they're nice, taught little thrillers (ahem) that sometimes twist in surprising directions. Very reminiscent of ALFRED HITCHCOCK PRESENTS offerings (and I wonder if these may have been the inspiration of HITCHCOCK to expand to an hour - when it did, it grabbed THRILLER's time-spot & ended that show's run).
Admittedly the horror episodes are unlike anything that was or had been on network TV at the time (and not exactly something anyone's attempted since), but the early episodes are really nothing to be ashamed of any more than the later humor entries are.

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Re: TV on DVD

#44 Post by Jonathan S » Wed Oct 13, 2010 5:00 am

HarryL, Matt, or anyone who has the Thriller box set - could you tell me please whether you find the widely reported music/dialogue imbalance on this set a major problem? (For those that don't know, it's claimed that the producers accidentally combined the normal audio with the music-only tracks on many episodes.)

At first, most reports seemed to say it was only a minor issue affecting a few episodes, but on CHFB at least two people are now returning the set as unwatchable (or unlistenable!) as they have to constantly increase the volume to hear the dialogue, then are overwhelmed by the music. I tend to be more annoyed by audio problems than visual ones and, since the set would cost me about £80 to import to the UK, it sounds like I should probably skip it, despite the fact I've waited years for this release. (I did see most of the series in the early 80s, and still have a few favourite episodes from those recordings.)

The Storm (Ep.55) is said to be one of the worst episodes for audio imbalance, if anyone cares to test that. Thanks.

HarryLong
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Re: TV on DVD

#45 Post by HarryLong » Wed Oct 13, 2010 11:03 am

The first episode I really noticed it on was one I watched last might, THE PURPLE ROOM (I think), and only for a fairly short section. It was annoying, but it didn't kill the episode for me. As it was only for a section, I assumed it had more to do with degredation of old materials rather than a technical foul-up (wouldn't a messed-up sound mix affect an entire episode?). Perhaps it gets worse in some later episodes...

Jonathan S
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Re: TV on DVD

#46 Post by Jonathan S » Wed Oct 13, 2010 11:45 am

HarryLong wrote: The first episode I really noticed it on was one I watched last might, THE PURPLE ROOM (I think), and only for a fairly short section. It was annoying, but it didn't kill the episode for me. As it was only for a section, I assumed it had more to do with degredation of old materials rather than a technical foul-up (wouldn't a messed-up sound mix affect an entire episode?). Perhaps it gets worse in some later episodes...
Thanks. Yes, if the Thriller audio mix-up theory is correct it should affect whole episodes (and I think almost half of them have isolated-score and effects options) but it seems to be worse on some than others. I gather it's particularly bad when music and dialogue are simultaneous, to the extent that the words sometimes cannot be heard.

I must admit I have this problem on the rare occasions I watch modern films, which often combine overblown music and sound effects with naturalistic recording of voices, rather than the more "focused" dialogue of the studio era. So perhaps people who are used to modern sound mixes have less of a problem with it. It may also be worse for me as I listen through hi-fi speakers (with a projector) which are usually at a higher level than one would use for a TV, partly because my ageing ears need it for unclear dialogue. I fear that on the problem episodes the music (and effects) will blow me out of my seat!

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Re: TV on DVD

#47 Post by HarryLong » Wed Oct 13, 2010 12:55 pm

Up to only a very short while ago I was still relying on the speakers that came with the TV & I often has a problem with sound mixes being out of balance on newer TV shows & movies (music or sound effects drowning out dialogue). That problem ended when I got a newer monitor & finally took the opportunity from extensive switching around to hook up the 3-speaker system that came with one of my DVD players (& had been sitting in the box for a couple years). Anyway...
The section I saw last night was only a few minutes & it was not like the music blared out over the dialogue. The music sounded normal & the dialogue seemed muffled. It probably bothered me less than it should have because the dialogue didn't seem particularly important.
(Actually I'm pretty amazed that isolated tracks even exist for a not-extremely-popular show from 1960. You'd think everything except the final mix would have hit the dustbin years ago.)

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Re: Anthology Horror Shows

#48 Post by domino harvey » Sat Sep 28, 2013 4:30 pm

'Tis the season for Anthology Horror viewings, but even within a given series it can be hard to know the hits from the misses going in. Having recently watched/rewatched the entire run of Tales From the Crypt, HBO's series of famed adaptations of the assorted horror and suspense comics released by EC Comics in the fifties, I've singled out twenty of my recommended favorites from all seven seasons. All seasons are available cheaply on DVD and I suspect one can also find them streaming on YouTube, etc (though will they still have their nudity and gore?)

Dead Right (Dir. Howard Deutsch, Episode 201) One of the few episodes to maintain the source material's time period, this fifties-set "fortune materializes in unforeseen manner" redux benefits from its glossy presentation and the two game perfs at the center: In-her-prime Demi Moore, who plays the gold-digging bitch role to the hilt, and Jeffrey Tambor in a pock-marked fat suit as the impossibly sloven husband Moore's psychic seems to think will be coming into money. Like a lot of these, it's not hard to see where it's going, but it has a lot of fun getting there.

Four-Sided Triangle (Tom Holland, 209) One of the most effective episodes of the entire series, this slick number finds farmhand Patricia Arquette stranded and more or less held hostage by a stern housewife and her lecherous husband. One morning, enraged at being sexually rebuffed, the husband hits Arquette over the head with a beer bottle and effectively causes her to retard mentally to the point that she becomes convinced she's in a relationship with a scarecrow. The tawdry leering shots of Arquette through-out turn out to have a greater purpose than one might initially surmise after considering them in tandem with the clever and satisfying ending.

the Ventriloquist's Dummy (Richard Donner, 210) Donner's contribution last season bordered on unwatchable, a cacophonous assault that betrayed his low esteem for the source material despite being one of the heavy-hitters directly responsible for the series' creation. That manic bombast is put to far better use here, however. What seems for most of its running time to be a typical EC tale of an apprentice and a master, here played by Bobcat Goldthwait and Don Rickles, eventually explodes into an absurdly protracted and hilariously gruesome special effects-laden finale. On the whole this isn't quite as good an episode as most of the others I've singled out, but it justifies placement in a culling of exemplary episodes if just for a reminder that while the show mostly just used its freedoms of nudity, language, and gore to punctuate its narrative, occasionally it did go all Dead Alive on our asses!

Fitting Punishment (Jack Sholder, 212) One of my favorite EC Comics entries as a child, this is more than just a sentimental pick-- Adeptly transferring the original narrative of a miserly mortician and his unwanted young charge into the black community, the episode sets itself apart from the class concerns of the majority of the series while amping up the already heightened sense of moral outrage that fueled the comics and these adaptations.

Abra Cadaver (Stephen Hopkins, 304) Deranged scientist Beau Bridges offs his partner Tony Goldwyn in order to prove his theory that humans remain conscious after death. An obvious and well-worn set-up to be sure, but the episode, shot in first-person a la Lady in the Lake, is raucous fun and the kicker may be easily guessed but the bow tied to it is diabolical.

Top Billing (Todd Holland, 305) Some of the more wacky episodes of this series are admittedly awful but without exception every episode that tries to take itself seriously fails (See "Three's a Crowd" from the second season for a textbook example). If you had to pick one episode that best represents the juggling of humor and horror and perfectly moralistic grimness, this is the one. Jon Lovitz plays a sad-sack out of work actor who is driven to murderous lengths to secure a Shakespearean role. The final twist is disturbing and hilarious in equal measure-- another classic Crypt hallmark! Interestingly, the fourth season episode "Beauty Rest" presents more or less the same story only with the genders reversed (and a far more nonsensical twist)

Split Second (Russell Mulcahy, 311) One of the nastiest episodes in terms of tone if not gore, this mean-spirited and brutish tale of a homely lumberjack foreman who takes a pretty wife only to immediately question her fidelity is rife with noir elements, from the voiceover all the way down to the femme fatale who's not quite one step ahead this round. There's some fascinating sexual politics going on here and the overall message of the tale, especially in light of the circumstances surrounding the gruesome finish, highlights the subversive nature of the comics' heightened sense of morality.

Yellow (Robert Zemeckis, 314) An anomaly within the series to be sure (it was actually intended to be part of a pilot for a spin-off series, Two Fisted Tales) though Zemeckis does provide a handful (pun?) of gory sight gags in the opening sequence that predate the more famous theatrics of Saving Private Ryan's beach-landing. Kirk Douglas and his son, Eric, star alongside Dan Ackroyd in one of the more clout-heavy entries in the series. The plot, concerning the wartime cowardice of a general's son, is clearly meant to resonate in conjunction with Paths of Glory (hence the casting coup) but this supersized episode stands on its own and makes for a compact and effective WWI short. Worth a look if we ever get to doing a War List Project, at least.

the New Arrival (Peter Medak, 407) Cocksure poptherapist David Warner smugly attempts to cure the unseen temperamental child of Zelda Rubenstein (and with no other than Twiggy in tow!) in an episode that quickly escalates into a superior creepy house tale. The source material was one of the many cultural works of the period to exploit the public's fears of psychology and its adaptation in the early 90s culture of talk radio and self help is a fortuitous benefit. Interesting that the episode actually changes the comic's twist but comes up with something that seems far more like an EC comics finish than what actually happens in the source! I estimate I saw about half of this series when I was a kid and most of those were in the edited versions shown on Fox or in syndication, but this one stands out for a particular reason. It's not exactly a secret that the show was rarely interested in actually being scary, but man alive did this one legit creep me out as a kid, especially one certain death from above… I won't spoil it but I've never been able to look at that particular everyday implement of death without thinking of this ep, and that's testament aplenty!

Split Personality (Joel Silver, 411) The fourth season is pretty abysmal on the whole, but this is the other highlight from a lackluster slump, featuring Joe Pesci trying to con a pair of wealthy twins into believing he's also a set of twins. If that description alone doesn't make you smile and guess where this one goes, this will likely never be the series for you. For all others this is another quintessential example of what we talk about when we talk about EC Comics.

People Who Live in Brass Hearses (Russell Mulcahy, 505) I saw this one as a child on HBO and somehow blocked out the last five minutes, so even though I'd remembered Bill Paxton's butter-eating scumbag and his dimwit brother Brad Dourif enacting a bloody failed stickup at an ice cream warehouse, I completely misremembered where it all ends up. Not that anyone could have seen it coming! The overrated "Forever Ambergris" often gets pointed out as the goriest entry in the series (allegedly even HBO objected and they had to trim some of the excesses), but I think this one trumps it.

Two For the Show (Kevin Hooks, 506) Many less-visible EC Comics went to a more Black Mask/Noir well than the typical supernatural elements and the series dutifully adapted its fare share of these as well. Several are quite good-- "the Sacrifice" and "As Ye Sow" being two of the better examples-- but this twisty bit of hubris-punishment sums up what's best about these kinds of stories, even if it like the others I singled-out comes off more as a gory Alfred Hitchcock Presents ep rather than a Crypt episode.

House of Horror (Bob Gale, 507) Adapted and directed by Bob Gale of Back to the Future fame, this is one of the more fully-formed entries in the series, as a frat house's fraternity pledge week rubs up against a haunted house. I actually only finally saw this one when (re)watching the entire series, but I was already well-versed in it from when it first aired, as my mom for some reason saw it and told me every gory detail of it because that was an appropriate conversation to have with a ten-year-old. She even made me watch the next chronological episode, "Well Cooked Hams," which I'm pretty sure was the first ep I actually saw-- I may have been the first kid on Earth to have Tales From the Crypt forced on them by a parent rather than forbade!

Creep Course (Jeffrey Boam, 509) I've mentioned before that most mummy-related film works leave me cold, but this one takes advantage of all the gross details of mummification and implements them in such a memorably gory fashion that it's amazing none of the 80s slashers bothered to do it first. One character's untimely exit midway through the episode is still one of the most memorable on-screen murders not just in this series but period.

Came the Dawn (Uli Edel, 510) This is a show with a restraining order on subtlety but when you have an actor commit themselves to the tone, it can be a real treat, especially when you wouldn't peg the thesp to be a right fit for this kinda thing. Case in point: Brooke Shields gives a great comic performance in this episode as a thieving hitchhiker who finds herself alone in a cabin with a rich dope. Though the trappings may be familiar, Shields' perf and the sure direction of Edel make for one of the more unjustly overlooked eps.

Let the Punishment Fit the Crime (Russell Mulcahy, 601) An unusually right-wing entry in the series (though all display a certain sense of conservative justice) that pits Catherine O'Hara's fast-talking New York corporate lawyer against a small town's skewed sense of justice. I'm not sure this one ends up making much sense even within the world of this series, but it's a weird and jolly trip all the same. Peter MacNicol has a lot of fun with his bizarre public defender role.

the Assassin (Martin von Haselberg, 608) An interesting entry not so much for the episode itself, which is of average quality, but because it fully anticipates the zeitgeist that Pulp Fiction coincidentally was simultaneously portraying in theatres. If this had aired a year later I'd have blindly pegged this take of wisecracking assassins (including Jonathan Banks and Corey Feldman!) tormenting the homemaker wife of a suspected fellow assassin as part of the same breed of mid-90s sweepstakes ripoffs like Thursday, 2 Days in the Valley, et al. Fear not, though, the series would later contribute its own Pulp Fiction cash-in next season with "Cold War."

99 & 44/100 Pure Horror (Rodman Flender, 614) The sixth season shows the strain of keeping an anthology horror series relevant to itself, much less to the changing tastes of the public. By the mid-90s, the anthology horror craze had long since died out and the show is pretty much a hollow shell of its former self-- the stars and directors attracted were barely C-list and most entries have a clear boredom about their construction. In many ways this episode is the last gasp of the classic Crypt formula, a gleefully tasteless tale of a flighty trophy wife who offs her soap CEO husband and gets served up some appropriate just desserts. So, it's like every other episode of the show. But in a season bent on mediocrity, this gory bit of nasty business looks like genius.

Fatal Caper (Bob Hoskins, 701) For all the bellyaching and clear signs of it being the death knell for the series, Tales From the Crypt's move in its final season to the UK actually produced one of its most consistent seasons (assuming one blocks out the goddawful animated finale). Somehow taking such a fundamentally American source material and transposing it overseas works, probably because everyone involved seems more charged and imaginative than the series had displayed in years. And this light-hearted season premiere sets the tone wonderfully: A twisty, backstabbing classic EC Comics set-up culminating in a ridiculous final twist made all the more ridiculous by how the series had already attempted it once before!

A Slight Case of Murder (Brian Helgeland, 703) The adaptation process of transposing these comics to a British locale doesn't always match up ("Escape" is transformed from a wicked and organic "just desserts" prison tale to a convoluted WWII POW camp tale, for instance). However, this entry, the best of the Brit Crypts and one of the best of the series, manages to fully justify the entire series' move overseas by virtue of being able to transform the source material into a wicked satire of Agatha Christie's literary excesses. As the complications involving a famed murder mystery author's bad night start to compound, the joke's not hard to spot but it's executed with wit and wry humor and none of the mechanations would be quite so sweet on this side of the pond.

About Face (Tom Sanders, 710) Other than the change in venue, the Brit Crypts also stand-out for their more fully-fleshed narratives and increased focus on lots of secondary characters. This lends the proceedings a more cinematic feel, and this is one of the series' most complete and compelling episodes, with a horndog man of the cloth coming to violent terms with the unusual offspring of his sins, played by a young Anna Friel! Seeing Imelda Staunton slumming it in gross goings-on like this is just the cherry on top of this, the last great episode of the series.

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Re: Anthology Horror Shows

#49 Post by domino harvey » Fri Oct 04, 2013 2:24 pm

If you want to read some of the source EC Comics and don't want to pay $150+ for the hardcover reprint sets, turns out Russ Cochran has their reprint annuals from ~15 years ago up for sale for ridiculously reasonable prices here-- some really obscure stuff on sale here alongside the more well known EC properties. Can't wait to dive into some of these!

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Matt
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Re: Anthology Horror Shows

#50 Post by Matt » Fri Oct 04, 2013 2:31 pm

Fantagraphics also has a currently-running reprint series that's rather affordable. Alas, it's affordable because it's just the black-and-white art, not color. But I typically despise original 4-color-process art that's been recolored digitally (as those EC Archives reprints were).

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