Creepshow debuts as a streaming series on Shudder today, but before reviewing the premiere episode (which, appropriately, features a segment based on a Stephen King story), I’d like to take a look back at the film series. Here’s a countdown of the eight segments included in Creepshow and Creepshow 2 (I will willfully neglect the nominal, non-King-related sequel, Creepshow 3), from the downright rotten to the positively putrid.
8. “Old Chief Wood’nhead” (Creepshow 2)
Tooth-achingly sentimental (uggh, that theme music) and painfully melodramatic, this slow-developing segment is by far the worst offering of the series. The uncanny effects of a cigar store Indian coming to life to take vengeance on the storeowners’ murderers is undercut by the resort to blatant cultural stereotypes (the bloodthirsty chief’s warpath leads to arrow-shooting, tomahawking, and scalping). Perhaps most dismaying of all, though, is the use of a glaringly white actor to portray Native American villain Sam Whitemoon.
7. “The Crate” (Creepshow)
Adrienne Barbeau gives an over-the-top performance as a boozy shrew of a wife, and the ostensible suspense is overdone (the initial opening of the mysterious box seems to take forever). The carnivorous creature released (dubbed “Fluffy” on the film set) looks like a cheap Halloween costume someone might rent. Filling up nearly one-third of Creepshow‘s runtime, “The Crate” proves terribly overlong.
6. “They’re Creeping Up on You” (Creepshow)
No doubt the most notorious and nauseating segment in the series (I’m sure that a significant portion of my present-day bug phobia can be traced back to its swarming scenes). Ultimately, though, there’s just not much to this piece, whose somewhat-nonsensical story strikes a singular note: a jerk of a germaphobe is overrun by myriad cockroaches.
5. “The Hitch-Hiker” (Creepshow 2)
The premise here is a strong one (a woman is haunted by the revenant of her hit-and-run victim as she speeds home from an adulterous tryst), and the increasingly grotesque deterioration of the hitch-hiker is well done as a practical effect. But the stricture of the situation (a single actress alone in a car for much of the segment) forces a jarring directorial decision–Lois Chiles’s continuous thinking out loud soon grows obtrusive, reducing the sense of verisimilitude.
4. “The Raft” (Creepshow 2)
The scene of Randy perving on Laverne naturally dominated my attention as a teenager, but now I am able to appreciate other aspects of this segment. When the sentient slick sucks Deke down through the slats in the raft, the jock’s violent sacking causes his leg to be bent gruesomely (a sight every bit as horrifying as that of the initial victim in the opening of It Follows). Based on the nature of the monster, this King story adaptation could have made for a tough sell visually, but the filmmakers succeed in creating a convincing float fatale.
3. “Father’s Day” (Creepshow)
The ranting, cane-rapping old man in this holiday-themed segment is terrifying even before he rises from the grave as a moldering ghoul. “Father’s Day” features some of the best kills in the series, including Ed Harris’s devastation by a toppled headstone. The closing image of a frosted, candle-crowned head on a platter makes for a garish graphic that might have been ripped right from the pages of a horror comic.
2. “The Lonesome Death of Jordy Verrill” (Creepshow)
I love King’s comedic riff (starring the author himself as the titular yokel) on H.P. Lovecraft’s cosmic-horror classic, “The Colour Out of Space.” Jordy’s steady, weedy decline is played jokingly, yet the story also jabs a primal nerve: the dread of contagion and terminal disease, and the anxiety of discovering signs of bodily breakdown breaking out. The verdant Verrill’s Hemingwayesque final solution to his human-Chia-Pet status certainly is no laughing matter, and makes for a sobering conclusion.
1. “Something to Tide You Over” (Creepshow)
This tale of marital infidelity, criminal revenge by a cuckold, and ultimate supernatural comeuppance plays like a quintessential E.C. Comics story. Leslie Nielson gives a strikingly chilling turn as the villain here (who knew Lt. Drebin could be so dreadful?!). His sadistic set-up (beachfront premature burial) creates a form of torment as relentless as the ocean’s breaking waves. The scenario is so harrowing, it almost renders the inevitable resurfacing of the waterlogged zombies anti-climactic.