Creepshow Screen 80 of 5 reviews

Creepshow

1982

Creepshow Poster
  • Geeks hold court now, and they’d still lurk meekly were not for Romero, screenwriter Stephen King, and SFX sicko Tom Savini. Their nostalgia-porn brood Creepshow avenges every EC comic banned, burned, or trashed by authority. From the suburban escapist prologue/epilogue to the vivid primary colors caking the panel-like frames, it’s as pure a piece of Americana as its inspiration.

  • Between the masterful DAWN OF THE DEAD and the just slightly overrated DAY OF THE DEAD, George Romero made two of the most unlikely films of his career: 1981's KNIGHTRIDERS and 1982's CREEPSHOW. While the former is a rather pedestrian sex comedy, the latter is easily the greatest horror anthology film ever made... The film literally moves from panel to panel..., and scenes are often bathed in red or blue light, or shot from canted angles, to maintain a feeling of cartoon-like wonderment.

  • Stephen King’s first original screenplay, directed by George A. Romero, ought by rights to have been a major piece of work. The fact that it remains defiantly minor perhaps points to Romero’s excessive respect for King, and King’s lack of respect for cinema. ‘I like moron movies,’ he declares in his otherwise smart study of the horror genre, Danse Macabre. And so he set out to write a silly movie, inspired by EC Comics, but actually dumbed down the material.

  • Creepshow may remain as hopelessly one-dimensional as the pages from which it sprung, but I’ll take its paper-thin stylings over Sin City‘s comic approximation of “human experience” any day: in Romero’s film, there’s not an ounce of cynicism.

  • This five-part film (1982), based on the format of 50s horror comics, marks one of the few times George Romero has directed someone else's script (it's by Stephen King), and the results are only mildly interesting by the standards of his “Dead” trilogy. Romero's concerns—with intrafamily, intracommunal violence, with the horror of quantity and the horror of the insensate—come through only fitfully, and the short-form style doesn't allow him to develop his characteristic intensity.

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