Paul Brian McCoy is the Editor-in-Chief of Psycho Drive-In. His first novel, The Unraveling: Damaged Inc. Book One is available at Amazon US & UK, along with his collection of short stories, Coffee, Sex, & Creation (US & UK). He recently contributed the 1989 chapter to The American Comic Book Chronicles: The 1980s (US & UK). He also kicked off Comics Bulletin Books with Mondo Marvel Volumes One (US & UK) and Two (US & UK) and PDI Press with Marvel at the Movies: 1977-1998 (US & UK), Marvel at the Movies: Marvel Studios (US & UK), and Spoiler Warning: Hannibal Season 1 - An Unauthorized Critical Guide (US & UK). Paul is also unnaturally preoccupied with zombie films and sci-fi television. He can be found babbling on Twitter at @PBMcCoy.
Dr. Samuel Loomis has no real rival in horror film history and the performances by Donald Pleasence were always nuanced, playful, tragic, and real, elevating whatever miserable excuse for a script he was handed into something magical.
The use of the constant rain and the flooding of the area as thematic elements never gets heavy-handed and enhances the beauty of the landscape rising up around these characters.
This time around, most of the creative teams just focused on figuring out how to get a first person perspective and then forgot to give us an interesting story.
The film's narrative itself slowly adopts a hallucinogenic style, with long silences, slow-motion sequences, mind-bending fast-cut psychedelic imagery and then suddenly the medium becomes the message.
If you were on the fence about sticking with this show because you thought it was poorly written and you didn't care about any of the characters, this isn't going to be the episode to win you over.
Peter Strickland has crafted a love letter to cinema itself, specifically to the Italian giallo cinema of the 70s -- the world of Argento, Bava, Fulci, and more.
This is a darkly fascinating and original story that doesn’t end well for anyone involved, but it has a lot of heart. It's good to see Jen and Sylvia Soska get a break and keep moving upward and onward.
It's the kind of thematic resonance that was missing from the last two episodes and helps to provide a bit more gravity without overtly sacrificing the family-friendliness.