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(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the kind 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 project’s IMDB.com page citation:
“’Theatre Fantastique’ by Hollinsworth Productions, is a Rondo award winning horror anthology series that ran from 2014 to 2026 on YouTube, totaling 16 episodes.”
As an admitted fan of anthology series, I was thrilled to take a gander at Theatre Fantastique. This web program springs from the collective efforts of Hollinsworth Productions via filmmaker Ansel Faraj, a highly decorated storyteller who was fortunate enough to turn his love of the motion picture experience into a professional career. In this capacity, he’s been able to write, direct, and produce both original delights as well as cinematic shorts drawn from the works of Edgar Allan Poe, H.G. Wells, and H.P. Lovecraft, many of which have turned up anywhere across Fantastique’s three seasons spread across the years from 2014 through 2026.
But …
As I’ve often pointed out, functionally reviewing the anthology format is an exceedingly difficult proposition because styles and performances and general narrative effectiveness tends to have highs and lows across the multiple episodes. Generally, I – as a reader – tend to avoid reviews claiming to list the various installments simply from worst to best because they do a disservice to all of the components required to bring separate chapters to life. Granted, it might be easy to pick out a deficiency or two here or there – Faraj could use a bit of schooling with things like framing and/or line of sight issues – and yet that, too, winds up feeling mostly like nitpicks whilst ignoring the merits of what every episode might bring to the table.
Consequently, this reflection on the series is really intended to justify whether or not fans might want to take notice of Fantastique or to pass it up in favor of pursuits elsewhere. That said, it’s the opinion of this reviewer to point out that would be a mistake because these episodes all clearly underscore a love of genre storytelling that stands shoulder-to-shoulder with about anything I’ve been fortunate enough to sample. Faraj and his co-conspirators do a pretty sterling job of injecting something special into these outings even if the run-time might seem more than a bit slim. Fans of Horror will likely be particularly tickled with the breadth of camera trickery used to render depth even in shadows, though there are sequences that could’ve benefitted from a bit more light as well as a bit more set dressing. It’s clear that all of this was accomplished on a threadbare budget; and that fact also might serve as encouragement for budding filmmakers to check it out to learn how these tactics can be put to exceptional use when investment shortfalls make corner-cutting mandatory.
Furthermore, it was also abundantly obvious that Faraj’s skills as an auteur grew across the production of Fantastique. While a bit rough and even herky-jerky in spots, Season One could’ve used a steadier hand at the helm – along with small interludes in Season Two – but by the time Season Three comes to life the director has a vastly greater bag of tricks to put to use. Naturally, some of those quirks – modest post production gimmickry and maybe even a few more line-of-sight problems – creep into existence. Regardless, the growth is obvious; and some might suggest that the somewhat existential dread of ‘The Werewolf Of Venice’ shows just how far Faraj has strayed from those modest early efforts into something of greater complexity. Granted, these various chapters may not work for audiences everywhere; but Fantastique still represents the rewarding variety audiences can discover when they embark on an anthology.
Lastly, I’d be a fool if I failed to mention that the project has received two nominations in the category of ‘Best Short Film’ – which these episodes really are – from the highly-regarded Rondo Hatton Classic Horror Awards. Like a great deal of the content that festival celebrates, Theatre Fantastique is a throwback to the kinds of webs spun in the years gone by, showing viewers that these narratives are still possible even in the modern age.
Theatre Fantastique: The Complete Three Seasons was produced by Hollinsworth Productions. DVD distribution (for this particular release) was coordinated by the fine folks at Hollinsworth Productions as well. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights-and-sounds are quite good throughout: it helps to keep in mind that short films are sometimes akin to experimental filmmaking, and this requires a bit of flexibility on the part of those who might discover it. This isn’t big budget storytelling, so temper your expectations and you’ll still have a fine time. Lastly, if you’re looking for special features? Alas, there wasn’t a one on here … and I do so miss them when they’re absent.
Recommended.
As I’ve confessed, I rarely find an anthology void of merit, and Theatre Fantastique was a welcome surprise. Yes, it’s a bit low budget – and definitely appears as such in spots – but there’s authentic storytelling taking place in even its meager installments. Seasons One and Two were a bit more entertaining for me personally – Season Three felt a bit bloated with longer yarns that could’ve use some trimming – but this is exactly the kind of project I’m always thrilled to find and even watch again on occasion. It’s a pleasant bit of thrills delivered by those who clearly loved what they were doing … and that’s a rarity in this day and age.
In the interests of fairness, I’m pleased to disclose that the fine folks at Hollinsworth Productions (via Allied Vaughn) provided me with a complimentary Blu-ray copy of Theatre Fantastique: The Complete three Seasons by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ