(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Three macabre tales from the latest issue of a boy's favorite comic book, dealing with a vengeful wooden Native American, a monstrous blob in a lake, and an undying hitchhiker.”
It’s never easy to review anthology films.
By their very nature, anthologies are aggregates of smaller stories; and it’s probably widely accepted that – at the very least – quality varies. Some tales are stronger than others, while still some yarns are fortunate enough to lure greater actors and actresses to these small roles. When the anthology is produced under a single roof (i.e. studio), then minimally audiences are assured that the relative quality of the effects work carries across each chapter; and yet it’s probably best to accept there still may be something undercooked here and there so that disappointment can be curbed in advance. Still, kudos are extended to creative forces that keep these efforts alive as I remain a fan of such fare whenever I can find it.
Now, Creepshow 2 (1987) is a follow-up to the successful original Creepshow (1982) – obviously, you say – but it didn’t quite have the spit and polish of the earlier flick. Clearly, it was written and produced on a considerably lower budget as even the gore itself is barely – ahem – presentable. While the first film’s biggest names behind the scenes – George A. Romero and Stephen King – were heavily involved in the follow-up, the production and eventual distribution shifted from one studio outlet to another; and I’ve read that these new suits just didn’t quite see a sequel as being all that relevant. Consequently, it’s fairly easy to see that the second collection looks like a bargain basement alternative to the polish of what Warner Bros. brought to market in 1982.
So, yes, Creepshow 2 is a flawed second coming for the Horror franchise, but it still has a few bright spots worth mentioning.
First, Romero and King’s involvement assured audiences that there would still be something to see. Both were still at or near the height of their prominence at the time, and both arguably knew something about crafting stories audiences could embrace. Second, director Michael Gornick had already ‘cut his teeth’ on anthology formats, having ushered four episodes of the fondly remembered Tales From The Darkside (1984-1988) to life on the small screen. His stewardship also presented hope that this crop of parables had relative experience at play behind the camera. Interestingly enough, Gornick had also worked as the director of cinematography on the original film. Lastly, Creepshow 2 followed in the footsteps of its predecessor by casting a handful of familiar faces, screen veterans whose participation alone gave the project a hint of gravitas the did wonders the first time it was tried as well.
In order to be as fair as possible to the completed film, I’ll offer up some reflections on its separate pieces and save a few remarks on the whole afterwards.
From the film’s IMDB.com page citation:
“Three macabre tales from the latest issue of a boy's favorite comic book, dealing with a vengeful wooden Native American, a monstrous blob in a lake, and an undying hitchhiker.”
It’s never easy to review anthology films.
By their very nature, anthologies are aggregates of smaller stories; and it’s probably widely accepted that – at the very least – quality varies. Some tales are stronger than others, while still some yarns are fortunate enough to lure greater actors and actresses to these small roles. When the anthology is produced under a single roof (i.e. studio), then minimally audiences are assured that the relative quality of the effects work carries across each chapter; and yet it’s probably best to accept there still may be something undercooked here and there so that disappointment can be curbed in advance. Still, kudos are extended to creative forces that keep these efforts alive as I remain a fan of such fare whenever I can find it.
Now, Creepshow 2 (1987) is a follow-up to the successful original Creepshow (1982) – obviously, you say – but it didn’t quite have the spit and polish of the earlier flick. Clearly, it was written and produced on a considerably lower budget as even the gore itself is barely – ahem – presentable. While the first film’s biggest names behind the scenes – George A. Romero and Stephen King – were heavily involved in the follow-up, the production and eventual distribution shifted from one studio outlet to another; and I’ve read that these new suits just didn’t quite see a sequel as being all that relevant. Consequently, it’s fairly easy to see that the second collection looks like a bargain basement alternative to the polish of what Warner Bros. brought to market in 1982.
So, yes, Creepshow 2 is a flawed second coming for the Horror franchise, but it still has a few bright spots worth mentioning.
First, Romero and King’s involvement assured audiences that there would still be something to see. Both were still at or near the height of their prominence at the time, and both arguably knew something about crafting stories audiences could embrace. Second, director Michael Gornick had already ‘cut his teeth’ on anthology formats, having ushered four episodes of the fondly remembered Tales From The Darkside (1984-1988) to life on the small screen. His stewardship also presented hope that this crop of parables had relative experience at play behind the camera. Interestingly enough, Gornick had also worked as the director of cinematography on the original film. Lastly, Creepshow 2 followed in the footsteps of its predecessor by casting a handful of familiar faces, screen veterans whose participation alone gave the project a hint of gravitas the did wonders the first time it was tried as well.
In order to be as fair as possible to the completed film, I’ll offer up some reflections on its separate pieces and save a few remarks on the whole afterwards.
Old Chief Wood’nhead
The ultimate rural enclave of Dead River, Arizona has seen better days, but the perpetually dead economy won’t keep local hardware dealer Ray Spruce (played by George Kennedy) from still keeping his store in the best condition possible. Despite his wife Martha’s insistence that it may be time to hang it all up, the merchant proudly keeps doing ‘the little things,’ even refreshing the war paint on his carved statue dubbed ‘Old Chief Wood’nhead’ out front. When a tribe of local ruffians break in, rob the place, and murder the Spruces, it’s the magical figure that comes to life for the sole purpose of serving justice … the old-fashioned kind.
Honestly, there’s a bit more to the story that involves Ray’s commitment to the local Indian tribe as well as their reciprocal respect that involves some prized jewelry; but even such local flavor barely elevates the effectiveness of this rather dry accounting of supernatural vigilantism. Of course, it doesn’t help matters that the burglars are given mostly the stereotypically stupid backstories – angered Sam Whitemoon (Holt McCallany) is more comical than villainous, Fatso Gribbens (David Holbrook) looks like he was pulled from a failed Animal House rip-off, and Andy Cavenaugh (Don Harvey) is the predictable small-town rich kid who’ll do anything for popularity – but kudos to King and Romero for knowing who audiences would cheer to see eliminated.
About the only thing in here deserving praise is the seminal cigar store Indian (Dan Kamin). Even under layers of make-up and/or prosthetics, the actor manages to exude just enough emotion to show there’s anger simmering from years of being fixed on the street watching these disrespecting youths go about their antics. While I suspect more emphasis was intended on evoking some mysticism about Native American honor and heritage, the sheer Horror of having an unstoppable force – one who still culturally accepts collecting scalps as a form of payment – is enough to make this otherwise pretentious installment worth sitting through.
The ultimate rural enclave of Dead River, Arizona has seen better days, but the perpetually dead economy won’t keep local hardware dealer Ray Spruce (played by George Kennedy) from still keeping his store in the best condition possible. Despite his wife Martha’s insistence that it may be time to hang it all up, the merchant proudly keeps doing ‘the little things,’ even refreshing the war paint on his carved statue dubbed ‘Old Chief Wood’nhead’ out front. When a tribe of local ruffians break in, rob the place, and murder the Spruces, it’s the magical figure that comes to life for the sole purpose of serving justice … the old-fashioned kind.
Honestly, there’s a bit more to the story that involves Ray’s commitment to the local Indian tribe as well as their reciprocal respect that involves some prized jewelry; but even such local flavor barely elevates the effectiveness of this rather dry accounting of supernatural vigilantism. Of course, it doesn’t help matters that the burglars are given mostly the stereotypically stupid backstories – angered Sam Whitemoon (Holt McCallany) is more comical than villainous, Fatso Gribbens (David Holbrook) looks like he was pulled from a failed Animal House rip-off, and Andy Cavenaugh (Don Harvey) is the predictable small-town rich kid who’ll do anything for popularity – but kudos to King and Romero for knowing who audiences would cheer to see eliminated.
About the only thing in here deserving praise is the seminal cigar store Indian (Dan Kamin). Even under layers of make-up and/or prosthetics, the actor manages to exude just enough emotion to show there’s anger simmering from years of being fixed on the street watching these disrespecting youths go about their antics. While I suspect more emphasis was intended on evoking some mysticism about Native American honor and heritage, the sheer Horror of having an unstoppable force – one who still culturally accepts collecting scalps as a form of payment – is enough to make this otherwise pretentious installment worth sitting through.
The Raft
Deke (Paul Satterfield), Randy (Daniel Beer), Laverne (Jeremy Green), and Rachel (Page Hannah) are the typical smalltown teenagers out on the hunt for a good time. With a healthy stash of weed and a fast car, they make their way to the outskirts of town, a place where the local swimming hole is finally without a handful of tourists or the wayward fisherman who’ve vacated the premises for greener pastures. With excitement, they strip down (not completely) and stumble into the cold water, heading out to the platform anchored in the middle of the lake for some quality time away. Before they know it, their raft will be surrounded by some murky slick with an unquenchable appetite for – you guessed it – damn near anything it can envelop.
Without a doubt, this is the highpoint of Creepshow 2, a visceral but simply told story of four teens who find themselves in jeopardy as the result of nothing more than a quick swim at the end of summer season. (FYI: this should’ve been the grand finale, but it was curiously stuck in the middle.) The effects work of the creature itself are simple in a few spots, but they’re still good enough to convey the fact that there’s a substance there just beneath the surface ... and it decidedly ain’t friendly! To the crew’s credit, their sequences involving some tar-like matter eating these young folks alive still looks fabulous decades later, some nasty deaths that might still elicit the necessary horrified cringing today.
Surprisingly, one might even find humor in the fact that these hormonally-driven teenagers can’t put aside the lustfulness long enough to live out the day. Given the opportunity, the somewhat pervy Randy tries to take advantage of the sleeping Laverne in the closing when he opts to feel her up whilst she’s still at risk but counting sheep. Of course – this being Horror – he doesn’t achieve the climax he’s desiring (we do, to a degree); but the smart script is yet another cautionary reminder that premarital coitus will almost always – always – be the death of someone … or two. Nice touch … and a killer ending.
Deke (Paul Satterfield), Randy (Daniel Beer), Laverne (Jeremy Green), and Rachel (Page Hannah) are the typical smalltown teenagers out on the hunt for a good time. With a healthy stash of weed and a fast car, they make their way to the outskirts of town, a place where the local swimming hole is finally without a handful of tourists or the wayward fisherman who’ve vacated the premises for greener pastures. With excitement, they strip down (not completely) and stumble into the cold water, heading out to the platform anchored in the middle of the lake for some quality time away. Before they know it, their raft will be surrounded by some murky slick with an unquenchable appetite for – you guessed it – damn near anything it can envelop.
Without a doubt, this is the highpoint of Creepshow 2, a visceral but simply told story of four teens who find themselves in jeopardy as the result of nothing more than a quick swim at the end of summer season. (FYI: this should’ve been the grand finale, but it was curiously stuck in the middle.) The effects work of the creature itself are simple in a few spots, but they’re still good enough to convey the fact that there’s a substance there just beneath the surface ... and it decidedly ain’t friendly! To the crew’s credit, their sequences involving some tar-like matter eating these young folks alive still looks fabulous decades later, some nasty deaths that might still elicit the necessary horrified cringing today.
Surprisingly, one might even find humor in the fact that these hormonally-driven teenagers can’t put aside the lustfulness long enough to live out the day. Given the opportunity, the somewhat pervy Randy tries to take advantage of the sleeping Laverne in the closing when he opts to feel her up whilst she’s still at risk but counting sheep. Of course – this being Horror – he doesn’t achieve the climax he’s desiring (we do, to a degree); but the smart script is yet another cautionary reminder that premarital coitus will almost always – always – be the death of someone … or two. Nice touch … and a killer ending.
The Hitchhiker
Unhappily married Annie Lansing (the luminous Lois Chiles) finds herself needing to speed home after a late-night tryst with her personal gigolo (David Beecroft). In her haste, she takes one freeway offramp too quickly and accidentally plows over an unfortunate hitchhiker (Tom Wright). Stopping long enough to realize she’s likely killed the man, Lansing eventually races away into the night, hoping to leave her legal troubles behind. But the drive is constantly interrupted with the repeated appearance of the victim who only grows bloodier and bloodier as her desire to see herself rid of him once and for all intensifies.
While I’m not complaining, this is a curious choice to close out the anthology with, mostly because it’s fairly predictable, reasonably uninspired, and has been done to death (pun intended). In fact, everything anthology program has likely had an accounting damn near identical in one way, shape, or form; so, I consider it a lazy choice with which to conclude the fanfare. I think it may’ve been a better opening, but that’s still a minor gripe when this chapter just never brought anything new to the table whatsoever. I’ve read that it stemmed from an idea suggested by King and fleshed out by Romero with the famed novelist substituting some of the dialogue with suggestions of his own.
My biggest problem with the installment is that – for reasons I can only guess to be financial – director Gornick chose to have Chiles speaking out her own thought bubbles whilst stuck behind the wheel of her Cadillac for the duration. Of course, I can appreciate that some of us do talk with ourselves while driving; and I suspect that’s all he was trying to achieve. Sadly, it grows increasingly distracting; and I think all involved would’ve been better served had the actress recorded these lines for voiceover. This way, she would’ve been free to really do more acting onscreen instead of taking time out to speechify everything. A huge creative miss.
Unhappily married Annie Lansing (the luminous Lois Chiles) finds herself needing to speed home after a late-night tryst with her personal gigolo (David Beecroft). In her haste, she takes one freeway offramp too quickly and accidentally plows over an unfortunate hitchhiker (Tom Wright). Stopping long enough to realize she’s likely killed the man, Lansing eventually races away into the night, hoping to leave her legal troubles behind. But the drive is constantly interrupted with the repeated appearance of the victim who only grows bloodier and bloodier as her desire to see herself rid of him once and for all intensifies.
While I’m not complaining, this is a curious choice to close out the anthology with, mostly because it’s fairly predictable, reasonably uninspired, and has been done to death (pun intended). In fact, everything anthology program has likely had an accounting damn near identical in one way, shape, or form; so, I consider it a lazy choice with which to conclude the fanfare. I think it may’ve been a better opening, but that’s still a minor gripe when this chapter just never brought anything new to the table whatsoever. I’ve read that it stemmed from an idea suggested by King and fleshed out by Romero with the famed novelist substituting some of the dialogue with suggestions of his own.
My biggest problem with the installment is that – for reasons I can only guess to be financial – director Gornick chose to have Chiles speaking out her own thought bubbles whilst stuck behind the wheel of her Cadillac for the duration. Of course, I can appreciate that some of us do talk with ourselves while driving; and I suspect that’s all he was trying to achieve. Sadly, it grows increasingly distracting; and I think all involved would’ve been better served had the actress recorded these lines for voiceover. This way, she would’ve been free to really do more acting onscreen instead of taking time out to speechify everything. A huge creative miss.
Now, there is a bit more to Creepshow 2 as producers loosely strung the three chapters together with some garish animation featuring Billy and The Creep (the movie’s narrator). Sadly, it’s another forgettable bit about the dangers of Venus Fly Traps; and yet it’s a forgivable sin if only because it’s delivered as nothing more but filler between the title bouts. On that level – and that level alone – it’s fine: stylistically, the youths are mostly drawn like they’re in their late thirties, so I’m not sure I was ever intended to make anything more of it anyway.
Creepshow 2 (1987) was produced by New World Pictures and Laurel Entertainment, Inc. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that this reported 4K restoration is mostly pretty solid: yes, there’s some surviving grain, and I thought the audio was a bit muddled in spots as well, but overall, it’s still quite good. Lastly, if you’re looking for special features? This is Arrow, and they rarely disappoint. There’s a great assortment of what I believe is mostly archival stuff – interviews, behind-the-scenes, images, etc. – along with a commentary from director Gornick that’s, frankly, a bit dry. It’s good … just a bit slow. Advertising materials suggest that there’s some other items with a physical purchase – artwork, collector’s booklet, etc. – but as I’m only provided an industry copy of the disc I can’t speak to the efficacy of those materials. As is my policy in those circumstances, I always caution “Buyer beware.”
Alas … only Mildly Recommended.
Initially, Creepshow 2 is a disappointment, one that really can’t hold a candle to the quality of the original. Its redeeming chapter – The Raft – gets buried in the middle where I suspect many may forget how well it uses the bare bones efficiency of its premise to delivery a wonderful treat. Essentially, it squeezes by at a breezy 90-minutes, so the best I can offer here might be to stay thankful with small favors … even though it definitely should’ve made some viewers scared to go back into the water.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Creepshow 2 (1987) for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Creepshow 2 (1987) was produced by New World Pictures and Laurel Entertainment, Inc. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that this reported 4K restoration is mostly pretty solid: yes, there’s some surviving grain, and I thought the audio was a bit muddled in spots as well, but overall, it’s still quite good. Lastly, if you’re looking for special features? This is Arrow, and they rarely disappoint. There’s a great assortment of what I believe is mostly archival stuff – interviews, behind-the-scenes, images, etc. – along with a commentary from director Gornick that’s, frankly, a bit dry. It’s good … just a bit slow. Advertising materials suggest that there’s some other items with a physical purchase – artwork, collector’s booklet, etc. – but as I’m only provided an industry copy of the disc I can’t speak to the efficacy of those materials. As is my policy in those circumstances, I always caution “Buyer beware.”
Alas … only Mildly Recommended.
Initially, Creepshow 2 is a disappointment, one that really can’t hold a candle to the quality of the original. Its redeeming chapter – The Raft – gets buried in the middle where I suspect many may forget how well it uses the bare bones efficiency of its premise to delivery a wonderful treat. Essentially, it squeezes by at a breezy 90-minutes, so the best I can offer here might be to stay thankful with small favors … even though it definitely should’ve made some viewers scared to go back into the water.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Creepshow 2 (1987) for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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