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Old 03-04-2013, 03:26 AM   #5
Remaking My Soul
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Join Date: Apr 2007
Location: Horror
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#60. "The Pit" (S6/E7)

What's Right with It: Direct and to-the-point. The performances are honest and well-suited to the material. The twist is novel and somewhat surprising. Mark Dacascos and Stoney Jackson are extremely good at playing sympathetic characters.

What's Wrong with It: ...I'm not sure this is truly pro-people (let's cut the idea of feminism as women are greater than men crap, and talk about people as equals regardless of gender). It's definitely hip to the women-are-running-things 90's. But it portrays this as bad. Not only are the women running their men into the ground, but they can't get along with each other. Which unwittingly plays them right into the hands of opportunistic scum like Wayne Newton's character, Wink Barnum (the former a game show host, the latter famously associated with circuses). Meanwhile, during the episode's gigantic twist, neither of the women think "there's something fishy about this." They're still too busy being obsessed with each other. Where I come from, we have a code word for this kind of behavior. It involves repressed sexual wants. It's just too strong as-is with little known foundation or justification. Classism? Sounds too convenient. That would almost require one of them to have started it, but the episode doesn't seem to want to go there. Which turns us back to women as inherently ready to pounce any other woman who is successful. There is definitely something powerfully negative being suggested here. Take your pick: they are either so hot to be on top of each other professionally because... well, say that again and replace "professionally" with "personally." Or they are instinctively wired to be the only successful woman in the winner's circle. Either way, the guys are portrayed as the real victims here. That doesn't seem very equal. Plus, without the opportunistic jerk - the real villain - we wouldn't have the "delicious" (disturbing) twist that suggests violence is the only answer. Shouldn't we... kinda be against the opportunistic guy? Without him, the guys wouldn't be in harm's way to begin with. The women might have had to settle their differences with... what are those things again? Words? Sounds fishy to me.

#59. "Staired in Horror" (S6/E9)

What's Right with It: I liked the toxic-looking yellowish-green light beaming all over every frame (it takes place in the South after all and even if they don't need any help to make plantations look creepy- it's not that hard to believe the atmosphere would have a toxic glow about it). The idea is strong and eventually the episode builds into a certain highly effective pitch of freakiness. The ending is legitimately scary. And the makeup effects are pretty darn good.

What's Wrong with It: When R. Lee Ermey is the best actor in a movie or tv show, you know you're in trouble. D.B. Sweeney is absolutely awful. Rachel Ticotin doesn't fare much better. The writing is also a little confusing. I was very skeptical about Kyle MacLachlan being a "girl-killer" in a previous episode, for some reason- I don't see why Sweeney's character would have to be an "old person killer" (this is of course why Ermey and his swat are on his trail in the first place). Much too nail-on-the-head, with the character's extremely harsh words just seeing Ticotin is old and likes the look of him as well as the power the stairs hold. His excuse for the lynch mob is that he slept with the sheriff's daughter. Why couldn't he have done that? And perhaps hurt or killed her too? Either way Sweeney's still the bad guy and we can't really wish for him to get away; why not give him a slightly more realistic - random to him happening upon this Magical Aging plantation home - backstory?

#58. "Beauty Rest" (S4/E5)

What's Right with It: Mimi Rogers. Jennifer Rubin. Sometimes it's very cool and stylish. And, frankly, I'm rabid to see anything in the horror genre that has to do with women social climbing, back-stabbing, and/or any plot involving beauty, vanity, modeling, eating disorders, etc(.) in an industry at least publically dominated by women. (I don't like giving points for an idea but - not only have I done it before, as I think we all have - you know this is why we even bother to watch certain things. Some of us want to see things that are out of the ordinary or original. Even if they don't turn out well.)

What's Wrong with It: Unfortunately, the reason we don't see many horror movies about these subjects is because the filmmakers either don't know anything about them or they don't take them very seriously. This episode is visually too dark. It's very hard to see at times. And it has the most illogical, wasted twist of the entire show. I think I even shouted at the screen. It makes absolutely no sense whatsoever, it doesn't even have any deep thematic resonance. Except, perhaps, if you consider that Helen was always ugly as a person. But didn't anyone relate to her even a little? I think most people probably do. Is the episode saying we're all ugly when we're not on a slab? It's literally a hard cut from modeling in front of people who're impressed by good skin and gussied up hair to people impressed by hearty organs (some partially damaged by what I'd figure is well over a decade of smoking). So... it's about the way people look at each other? I doubt it. All things considered, it didn't matter which woman won the contest. "Beauty" had nothing to do with who won, it was callous ambition. What does that have to do your organs?

#57. "The Man Who Was Death" (S1/E1)

What's Right with It: I think I can safely say this is one of the best photographed and best looking episodes. It's well cast, well acted, and seems like it really cares about some serious issues.

What's Wrong with It: It also goes and sticks its own foot in its mouth. Niles is so good at his job - "If a man ain't good at his job, then what the hell is he good for?" - that this is all he gives himself the right to talk about. What does he talk about? Everything. Because the episode thinks he's the only one who can. Forget really getting us out in Niles' world by placing more focus on his conversations with others; I guess he really has a low opinion of most people. Half the episode is spent listening to each and every one of his life philosophies. I won't say it turns out as badly as it did in "Carrion Death," but we certainly long-passed the point where I wanted Niles to shut up. Furthermore, the episode could have made their own approach work but not when it feels so trivial and unimportant. "I see the junkies shooting up. I see what women are really like." Yeeaahh, why do we care? The episode couldn't figure out a way to make his observations look like things we should be paying attention to. Niles is a void as a human being and the episode made everything else as substanceless as he is. So, when it was his turn up in the chair, it was like another burger tossed on the grill. Nothing special. Just another burger.

#56. "This'll Kill Ya" (S4/E2)

What's Right with It: Dylan McDermott is so smoldering, he singes the air. Sonia Braga trips over her dialogue a lot but she has an equally amazing screen presence. It's a very sexually mature episode. The scientific details are a good conversation starter, with the characters. Dialogue is a definite selling point here. And... blue. It's a freaking beautiful episode when bathing the screen in some very enveloping color tinters, which is reserved for most of the second half.

What's Wrong with It: Predictability is extremely high. It truly is an incredibly unoriginal episode. Perfect half and half hybrid of "Abra Cadaver" and "Easel Kill Ya." Oh, and... tumors. Yet, I don't think they had any bearing on (calling "Beauty Rest") the deeper meaning of the story. Just maybe this episode was more literal than it needed to be.

#55. "Curiosity Killed" (S4/E14)

What's Right with It: Easily a tour-de-force for Margot Kidder. The cranky old coot dialogue has a heavy probability of grating on most people but I was thoroughly invested thanks to MK. She's extraordinarily compelling, whether showing a tiny shred of vulnerability or being the biggest bitch in the Crypt canon. Bar none? Perhaps. The twist is twofold and part 1 is one of the cruelest, deeply nastiest things a character could do- once you see what she really has done. And the camera doesn't shy away for a second. It's sublimely sadistic, almost as though the makers thought they were filming something that's never been shown before. Which makes a difference here. Whether it's just meant to give the audience everything they signed up for or as a way to pour some sour over the kind of sugary sentiment they borrowed from Steven Spielberg's segment in Twilight Zone: The Movie. I was actually able to look past the rubbery FX thanks to details like Madge Sinclair's far too polite "no, you shouldn't do that!" reaction to Kidder revealing she peppered their youth potion with alcohol or J.A. Preston's unbelievably tragic death cries. "Luuuuu-ciiiiiile..." What do you expect her to say, man- she's as dead as you are.

What's Wrong with It: Part 2 of the twist cheapens out. Who knew the dog was supposed to be as aged as everyone else? This was not made clear by the dialogue. It's just something they cut to, out of the blue. And it entirely deflated my satisfaction with the first part. And that's not the only thing the episode carelessly leaves unexplained. Did Harry kill Emma or not? Jack believes he did and confronts him about it, but Harry changes the subject. In a way that really makes it seem like he did...but had what he considered noble reasons for it. The episode suggests with its' title alone that Cynthia's paranoia is the reason she lost her chance at a 2nd youth. But was she really paranoid about this? It's even more important to know when we're told that Emma was just like Cynthia. And she's dead now.

#54. "Undertaking Palor" (S3/E9)

What's Right with It: Though it features a gang of kids, this sure as hell ain't Goosebumps. That might sound irrelevant now but wait- it'll come back later. There is a lot of gore and gross, disturbing subject matter. Which the kids at first accept in a surprisingly more adult manner than they do the movies they watch. Entertaining death scenes. Even though shot-on-video is now looked at as a fad, it makes much more sense in this context since they know (at least consciously) that VHS isn't actually shooting a movie. It's involving and it did excite me as a kid; not much has changed. John Glover.

What's Wrong with It: The fact that, after awhile, the episode begins linking the way the kids see real violence with the way they watch movies. They see someone dying and because they're all filming it (did they... all get their replica video cameras from Josh?), they begin to cheer and say things like, "this is awesome!" I thought they were trying to right a wrong that really fucked up one of their lives. Should this show of all things be making a condemning statement about desensitization?

Shocking Trivia: Did you guys know that 2 out of these 4 "kids" were actually in their 20's at the time of filming? 3 of them were legally allowed to vote. The oldest - Scott Fults, who played fat "Norm" - will turn 52 this year, making him at least 28 at the time of shooting.

#53. "Showdown" (S4/E8)

What's Right with It: Richard Donner returns as director, and while it's not better than "Dig That Cat...He's Real Gone," it's easily an improvement over "The Ventriloquist's Dummy." I rarely watch westerns and I thought what they did with Billy Quintaine here was good. The acting is very strong. Great atmosphere- it's got a real lazy day feel that shows "Revenge is the Nuts" how to make that attractive. The twist is interesting.

What's Wrong with It: The twist also comes far too early (that could have something to do with this episode and "King of the Road" being pilot episodes for a different anthology series called Two-Fisted Tales which HBO was prepping but never got off the ground- so they threw the stray episodes in the middle of Crypt season 4 and hoped nobody would notice), leading to an ending that goes. On. Forever. And drains the fun out of most of what came before. Then... there's a coda. It nearly acts like its own twist: the gunslinger and the sheriff can now be bestest buddies in the afterlife. Even riding off into the sunset together... uh, that's nice. The twist is: a happy ending.

#52. "Creep Course" (S5/E9)

What's Right with It: Likable characters. Very smartly cast. Clever twists. A very dark coda (even more head-scratching though... the teacher gave her an A+ for what is more of a found object than something she crafted herself- if this were Ghost World, I might be more apt to buy it). And, would ya look at that- the twists actually form a united theme relevant to all the characters: paying attention. It may seem a little ethical/moral, but... those of us who actually did the work while the slugs of life somehow mysteriously continued slithering ahead appreciate a good 10 or so minutes of comeuppance.

What's Wrong with It: Welcome to Goosebumps-land. Except for a little blood trickling down someone's nose, this is as tame as you'll ever see on this show. I don't remember any real language either so... bring the kids.

To the Desk of Rhett: You never met a chubby football player? At least 2 of Slater's friends on Saved by the Bell were pigskinners with a few extra pounds on them (x 10 or so). I know- who turns to SBTB for reality... I can confirm for you this is something they got right. I knew skinny players, chubby players, etc. They come in all shapes and sizes.

#51. "Mute Witness to Murder" (S2/E15)

What's Right with It: Patiently, intelligently paced. Good ideas all around. Relentlessly staticky, smokey-blue. The casting of Johnboy Walton (Richard Thomas) as a killer was risky. It's at times hard to separate his wholesome image from this kind of role but he does come off as sleazy. Which the dialogue then tries to about-face to avoid when he says "unclench your knees, nervous woman- I have no interest in defiling you"... too bad that would make me even more nervous in her situation. Patricia Clarkson's performance is phenomenal. And for a thriller with no real thrills in it, there's one good, moody savage moment.

What's Wrong with It: Reed Birney's occasional Shatnerisms ("you'll... come... home...tahmee" - "to" and "me" are separate words). I don't love the spunkier music cues which lead the episode off. And it's boring in parts. Not many, but some. It's also extremely silly and frequently hard to believe. Depending on your mood, these moments might get to you more than the good makes you ignore them.

#50. "Till Death Do We Part" (S5/E13)

Okay... this episode is a difficult one to tackle. I trekked over to IMDb's Crypt board for a few weeks some years ago when I was feeling chatty about it and I learned that this was easily one of the most disliked episodes of the series. Rhett of course loves it. What this made me learn about myself is that I like it more when everyone hates it and less when someone puts a lot of erudition into their reasons for why it works. So, maybe just once someone should dispense with all that and be as objective as possible. In 1 sentence: there is absolutely nothing truly wrong with it, yet... there's nothing really that special about it either. Except the music. I remember that (and not just because I still like The Mask- freaking shoot me already, please). I want to say it's unsettling. But I also wouldn't like to think the episode cast Eileen Brennan because the makers felt no one in their right mind could find her sexually desirable in '93. The idea that the center of the episode was all an escape fantasy is excellent, and the double-cross of Kate Vernon is brilliant in a way that only occured to me this week. But, then... Vernon's face doesn't move. She may be a zombie. (Can anyone debunk that for me?) And, the thing that I think makes this hardest for me to swallow is- wait, no- that would be Frank Stallone and Robert Picardo as Brennan's goons. But, right after them is John Stamos's smiles-on-the-outside but crying-on-the-inside manwhore. I don't care how this sounds but, I kinda think I need to see how he and Ruthless Ruth met. Yeah: thug life, bro (it is now that he's shot someone). The episode's desire for sympathy never gets past the shallow quality of John Stamos's prettyboy face. (But, I dunno, a few more experiential details just might make a difference.) As a nightmarish, drunken, blurry, desperate, washed-up fantasy- I can partially accept it. Least it tried.

#49. "Doctor of Horror" (S6/E12)

What's Right with It: Holy hell- this cast. Austin Pendleton, I want to fuck the glandular essence of your quirky pathetic-figure indelibility. You are the hero of the human-ant population. Hank Azaria's okay too. I don't see why he couldn't have taken over for Billy Zane in "Well Cooked Hams," would certainly have eased my suffering. But, this episode's thinking clearly is- they need a worthy match for Austin. And they got one. Travis Tritt is creepier alive than dead ("you see... you don't know about the soul, doc" - some of these quotes are not from the show, they're my takes on the characters). There's just something about his on-the-nose "oh, dear god"s (making me wonder when we learned his character was a big G-nut). Where's Laura-Louise when you need her? Speaking of corrupting the innocent, once you smile devilishly at this line, you forever belong to the dark side: "He's simple-minded and good-hearted and that's a dangerous combination." Occasional toothy-grinned jokes aside ($600- much more than $500), the character writing is pretty damn brilliant. And... newly 2nd-careered Republican slimeball Ben Stein is viciously murdered, then violated post-mortem by weirdo Azaria. Yay!

What's Wrong with It: I guess every episode needs a twist, doesn't it? Damn. There was nowhere to go but down with this one. And the twist definitely drives down the property value. Predictable- check. Over the top "crazy maniac" acting- check. Bad special effects- check. Goofball puns, proving everyone wants to be the Cryptkeeper- check. Not fun- check.

#48. "The Switch" (S2/E2)

What's Right with It: Roy Brocksmith is great here, as are all the scenes in the "mad scientist" lab. Great colors down there, very pretty. He has good instincts without exactly slipping into camp. I liked Kelly Preston more in Twins (great flick) but she's very effective here, as she is in everything I've seen her in. Yet another better-bitch candidate than Kim Delaney (this...might be the end of my harping on that, we'll see). William Hickey is beyond sympathetic. I think he taps right into something elemental that most people can relate to. He could have slipped into a sugar-grandpa cliche, yet he even struck me as being genuinely in love. And the image of his voice coming from Rick Rossovich's mouth is not as silly as you might expect. Nothing but surprises from The-Ahhnold as director, from his range of tones in this piece to the sophisticated attitude throughout.

What's Wrong with It: The twist is horseshit. It completely disregards what we know for a fact and re-writes character to fit the "ultimate nightmare" ending scenario. It's nothing short of impossible to accept Hickey's best friend and confidant (played by Ian Abercrombie) - who you totally believe cares about him - betraying him for money. That's just one step over the line for me. They threw that one in to try to be cruel. It turns out to be more than cruelty- it's horseshit. Just a poorly assembled twist altogether and an insult to an otherwise good episode.

#47. "99 & 44/100% Pure Horror" (S6/E14)

What's Right with It: This is a very inventive take on the old reliable gold-digger formula. That the wife puts the divorce threat on the back-burner until she tries every trick she can to get him to further her career. Also that she uses his business to force her art into the public's face. Meanwhile... though she complains about dwindling exposure and is in the end willing to drop her Laura Mars-ian Gory Portrait series due to no sales ("who's gonna buy my paintings...?!"), the amount of time and energy she puts into arguing that her education in marketing and design is important to what she does for a living helps in making her a more interesting character. She could be a model. What does she do instead? Soap box art. Yet, she's famous enough to be invited on tv talk shows (it's an amusing test of fictional boundaries). Like "This'll Kill Ya" before it, the idea is fascinating and the dialogue is detail-driven. The whole thing is like a more satisfying 2nd try on the snotty-attitude tarts of "Came the Dawn." Also- her strangely devoted husband is actually willing to forgive her cheating on him if she'll just direct her craziness toward him instead. I feel like this episode is trying its' darndest to avoid predictability. Oh... and: have you seen the twist? It's glorious.

What's Wrong with It: I suppose we're also right back in "Undertaking Palor" territory. Where director Flender might be suggesting that murder is a natural progression for someone who paints gory pictures (we actually understood the progression for the artist in "Easel Kill Ya" into murder was less cut-and-dry) instead of for a desperate, crazy bitch who wants money. Also, Cristi Conaway is sometimes crisp and cutting. But, she also rushes through some extremely important character-arc moments to try to drive up the mania of the moment. She should have tried for dark psychotic calculation instead (something sorely missing from the 6th season- too many actors are only creepy by default).

#46. "Four-Sided Triangle" (S2/E9)

What's Right with It: Another ultra-bizarre Tom Holland episode. I thought I could get through this without mentioning him but this is very similar to "Lover Come Hack to Me." Even down to the fact that now I will always associate farms with a slight chill thanks to the way he gave this setting some spine-tingling atmosphere. But, strange as it is, it's the other side of that coin. Where the finale of "Hack" will have your brain blistering as to how that twist could even work in the comic (I'm guessing there were no "itty bitty" children conceived there), the oddity here eventually leads the way to an extremely clever twist. Another damn fine music score. Acting's great. Pet Sematary's Susan Blommaert turns in the best crotchety old-lady performance this side of Anne Ramsey (with a far more quiet menace, too). The hillbilly cliches are wrapped up pretty tight.

What's Wrong with It: As much sense as it makes to have Patricia Arquette going on and on about making love to the scarecrow in front of this pair who are closer to surrogate parents than employers, that doesn't make it any more comfortable. After you see it the first time, re-watches are immediately hampered by having to watch her do it. Over. And. Over again. I'm not exactly the type to get through these things by slyly smiling and thinking, "oh, you're number's up. Mary-Jo's gonna get you... in, yeah, 14 minutes, 45 seconds... (whatever.)" Nothing to do but sit and groan.

#45. "Let the Punishment Fit the Crime" (S6/E1)

What's Right with It: Another killer cast. Catherine O'Hara, Kevin Cooney (Legally Blonde), slick Brit pro Joseph Maher (Sister Act), Wesley Mann (Disney's Adventures in Wonderland), and the always scary, even in comedic roles, Peter MacNicol (Addams Family Values, Ghostbusters 2). All of whom bring something great to the table. O'Hara's brassy and always entertaining. Cooney's reaction shots are hilarious. Maher legitimately makes you feel doom of global proportions is imminent. Mann is a good Droopy type. And MacNicol is the guy you take for granted, not realizing he's the key to the twist. I don't know if this is funny but it sure is fun. And really tense. In fact, it's a little too intense. The fire-breathing characters get right up in your face to the point where I felt like I was on-trial here.

What's Wrong with It: If only they had dialed down the supernatural stuff. I mean- why do the doors of this courthouse magically lead to rooms they're not connected to? This ain't Labyrinth. And the freaking stupid guilt-ghouls that pop up a couple times. You want a pound of flesh? How about I pound you with a mallet instead? Other than that, there's just one thing missing.

#44. "Only Sin Deep" (S1/E4)

What's Right with It: I think, for people who are looking for something like it, this episode delivers big time. It's funny that this came before Pretty Woman and (I don't care, I'm making this reference) Mannequin 2: On the Move because its' makeover narrative is standard in later films. Yet, from where I'm sitting, "Sin" is a forerunner. Unless somehow it actually predicted the coming of The Little Mermaid. Whatever; it has roots in a type and it's just about the best of that type. It's Cheese Heaven. There isn't a single thing I could have asked for which they overlooked. Let's try to count them off in order: hookers, snarky banter, petty revenge, cash!, "deal with the devil," voodoo, shopping montage, tacky fancy late-80's apartment party, hunky tux'd maître'D/bouncer, cheesy fashion, jewelry & beauty products, vanity, running down hospital hallways, smashing glass, throwing breakable objects in rage, murder for money, betrayal, mummified corpse, plaster headcast of broken dreams, Pamella D'Pella gets the last word (she's actually one of the reasons I was so hot to get Angel in Red on DVD- I went on about that movie in the Shout! Factory thread), and... it's all scored by Jay Ferguson. He did Nightmare on Elm Street 5. Probably my favorite score of the franchise (lousy movie though, of course). Perfectly suited to this episode. As formula, it's almost perfect. I mean, I could always ask for gore or more blood. And a stabbing or hacking death or two. But, yeah... wow. Easily one of my personal favorite episodes. Also, big points go to D'Pella and Britt Leach who is downright adorable as the long-grieving pawnshop owner who can't let go of his dead wife. If that's technically the twist, it's a real good one. (I don't mean it to seem like I'm writing off his performance. It's excellent.)

What's Wrong with It: I have absolutely no guilt about admitting this is a pleasure. But, I will say Lea Thompson's accent is terrible. The episode doesn't do the greatest job of portraying her as the girl of anyone's dreams. If anything, it's not her looks- it's that she's more "real" and honest than her competition, "Miss Clairol." And furthermore, Brett Cullen is pretty wooden. After his first scene, he turns into a soulless block.

#43. "You, Murderer" (S6/E15)

What's Right with It: Cast. John Lithgow is one of the greatest people on the planet. And, maybe he never gets much credit for being methodically unsettling with his villains. But he's a grade-A villain. Sherilyn Fenn fits perfectly in her small but impressionable role. And Isabella Rosselini never gets credit for how funny she is (the grave-digging scene). Dialogue. First, of course, I have to compare this to "The Man Who Was Death" and mention how this had all the elements to be another marathon of me rolling my eyes at the narrator. Yet, this episode shows everyone how you do it: it's all backstory. You learn a lot of important details about what got Lou into the mess he's in and... frankly, all of it made me like him better as a character. If you have to build up your male protagonist as the victim of a rotten woman, this is how you do it. It's a relentlessly clever episode with a lot of tricks up its' sleeve. Visually, of course, it's fabulous. But, more than that, all the flashbacks have a disorienting, tension-building quality. Further making Lithgow look more menacing and Rosselini more hysterically rewarding. Not that she needs much help with lines as great as: "Your suicide note is rather eloquent. I almost cried when I wrote it." Great freaking dialogue. The ending is impeccable as well, giving us the one thing "Abra Cadaver" was missing: "But, what the hell, you'll find out soon enough." Never thought the image of two villains having gotten what they deserve would look so artfully repugnant.

What's Wrong with It: Once Lou stiffens, so does the pace. Considerably.

#42. "Comes the Dawn" (S6/E13)

What's Right with It: Another first-rate cast. Susan Tyrrell (anyone notice she narrated Document of the Dead?), Bruce Payne (Passenger 57), the return of Michael Ironside, and Vivian Wu (whom I've never seen elsewhere but realize that's a shame). This one is particularly satisfying for its' anti-military revenge pay-off that I don't think anyone could have seen coming. And I'd say it also makes decent use of Girl Power. The set-up seems kinda stupid at first with the two jerk "man's" men, but even then it's full of vigor. Since it's so cold in this story, it's pretty obvious what this locale is the ideal hiding place for. Cold blood, hibernation, and since this is a horror story- hungering for human prey? But overall, this is very effective. Since it's about war and they give you someone worth rooting for and against. And you have to love Wu's final killer line. It should have been obvious from the start but, nonetheless it's too perfect.

What's Wrong with It: These are some freaking lousy vampires. I like monstrous vamps too - though I especially prefer my blood-suckers to look less like aliens and more like people - but why the hell do we really want to see their nesting-resting places after The Lost Boys? I don't want to see them with actual wings again after Fright Night. And I don't want to see them in cocoons. That's friggin' gross. And cocoons in the cold... ya know, if you want to be gross- why not go all the way and set this in a warm location with volcanic reds and magentas shooting through the walls, illuminating the nasty creeper/s inside? Anyway, it's another thing I don't want to see. After Gremlins 2: The New Batch, no one will do The Cocoon Emergence any better. The music stinks too. (Anyone else think Tarantino ripped this off?)

#41. "Séance" (S4/E4)

What's Right with It: Style. Great music. Excellent gore (and plenty of it). Cathy Moriarty. The rest of the cast are obviously great (John Vernon, without whom this whole episode's con game might fall apart at lightning speed) but it has been my most frequent Crypt re-watch because of Moriarty. She is without a doubt one of my favorite actresses. The twist is pretty predictable but it's still one hell of a scene. The blind widow's gay companion's reaction is especially priceless- "Mr. Chalmers... is looking a bit peaked, ma'am." This works even better when you consider how classy the rest of the episode has been mounted to be. Lots of nice eyebrow-raising moments.

What's Wrong with It: More than a little slow. Moriarty's training clearly seems to be at home with frantic pacing. (She shows a bit of this with her trademark raspy shrieking turning up a couple times: "Prescott! PRESSCAAAWWWTTT!!")

Last edited by DVD-fanatic-9; 03-04-2013 at 04:41 AM.
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