Category Archives: TV Tomb

Masters of Horror: Screwfly Solution

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What the hell is going on here? Did all the directors from season one meet up in a room and decide that they would turn up the heat this time around? Because season two of “Masters of Horror” has been one big punch in the gut, and I’m surprised. Dante, who came at us with my favorite episode “Homecoming,” repeats his one-two punch with “Screwfly Solution” an utterly violent and original picture of the apocalypse. I have a soft spot for films or television that paints the apocalypse or post-apocalypse, and “Screwfly Solution” is a fascinating story about the line between sexual aggression and aggression thinning into a gory result. How does this happen?

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Masters of Horror: Pelts

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I am not one who is all about the gore. Granted, I loves me some blood splatter, and I’m not opposed to torture, but I also like it when it’s accompanied by a story, or at least engaging characters. “Pelts” essentially doesn’t have compelling characters, but the story is entertaining. I was not a fan of Dario Argento’s prior effort, “Jenifer.” I thought it was bland, Stephen Weber’s performance was cartoonish, and the climax was brutally predictable. “Pelts” is a step up in the gore department, and in the plot. It takes the concepts of furs turning against the people holding them, and never exhausts itself. “Pelts” pulls out all the stops, not only in the gore, but in the grueling scenes of self-mutilation, and it’s typical Argento. Meatloaf plays a vicious and rather slimy fur buyer who works his factory workers to the bone, and aspires for quality.

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The Ghouligans (Web Series)

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The Slack Pack’s “The Ghouligans” is an awful lot like the most recent 60’s homage “The Lost Skeleton of Cadavra.” It’s not perfect, it’s an acquired taste, but in the end it’s a pleasing little satire/love letter to the time of cheesy monster flicks. Except The Slack Pak takes its film in the angle of “The Munsters” in which we follow a group of displaced monsters in modern times struggling to get by and make dues.

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Masters of Horror: Pro-Life

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I love Ron Perlman. Whether as the bad ass demon ass kicker “Hellboy,” or in a long-winded turkey like “Desperation,” there are not many instances where he can lose with me. In “Pro-Life” his performance is powerful, and I utterly loved him as the anti-abortion terrorist doing anything to get his daughter back from the clinic. He’s the highlight, here. “Pro-Life” drops down on a reality where abortion clinics have armed guards and fences that keep out protestors. Apparently, this is the near future but nonetheless, the whole concept of Carpenter’s installment is to somewhat paint the pro/anti-abortion issue into a more horrific light.

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Masters of Horror: Sounds Like

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The new installment “Sounds Like” is not so much a horror story with blood and guts, but an examination of a man who has special hearing. Special hearing that serves as a great service to his company, and a curse. As all gifts are. He can hear when a service rep at his software company is about to become angered at a customer, and he fires them upon this instinct, yet he was also able to hear the defect in his son’s heart before his death. Brad Anderson’s installment is a solid character study, a facet of the horror genre he’s strived in with “Session 9,” and the excellent “The Machinist.”

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Desperate Crossing: The Untold Story of the Mayflower

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In the end, “Desperate Crossing” is still a rather glossy depiction of the pilgrims on the mayflower depicting them as rebels and immigrants. Regardless it tries to cut through all the junk and chronicle the realism of their journey and their desperation to move to a land where they could worship freely. However, we never explore how this culture may have dominated the primitive Native American culture, nor does it really take the accounts warts and all.

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Masters of Horror: Family

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So far, the second season seems to be attempting to make up for the mistakes the first season made, and the two directors with the worst episodes of the first season, end up creating better episodes this time around. Landis whose episode, “Deer Woman” was basically a lightweight horror effort, makes up for it with the excellent installment “Family.” Harold Thompson loves his family. He lives in his large house in the middle of a bright suburb, and he keeps his family closely guarded and drawn away from human eyes, and there’s a good reason for that.

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