‘Creepshow’: series based on films by George A. Romero and Stephen King


The first season of the ‘Creepshow’ series has come to Spain via Atresplayer and while it’s a bit simple and sometimes homemade, it’s an event to celebrate. The death of George A. Romero means death and a particular way of understanding terror not only as a tool to satirize the human condition, but also as a celebration of the Halloween spirit, from horror comic short stories brought to the cinema.

Neither Amicus nor the excellent ‘Tales from the Crypt’ (Tales From the Crypt, 1998-1997) manage to capture well the grotesque excitement of hiding the pages of EC comics as the film ‘Creepshow’ (1982). the Living Dead (1968) and Stephen King manage to transfer the colorful world of blood, vengeful undead, and grisly poetic justice right from the panel to the screen, in a pop artifact where, from animation to typography, they reflect an atmosphere of ecstasy in the face of terror as pleasure. and visual artifacts.

It’s surprising that, while the ‘Tales from the Crypt’ revival has stalled, the apocryphal adaptations of the comics are now seeing series output, a concept that was difficult to come true thanks to the streaming platform’s battle scenes. Thus, the efforts of Greg Nicotero – Tom Savini’s outstanding pupil with a devotion to George Romero – pays homage to one of his first opportunities in the media, before the vampireization of Romero’s universe in ‘The Walking Dead’ (2010-) made him a director and producer. famous on television.

A loving tribute that serves as a monster museum
The truth is that, while Nicotero does obscure favors in the latest films from the creators of the modern undead, now he wraps his spirits almost as a posthumous homage with a simple series but, at times, he hits the right buttons. In the form of two episodes, ‘Creepshow’ tries to salvage the spirit of the film by presenting small horror stories whose visuals have as basic a role as the plot itself.

Without imposing a socially imposed setting like the recent ‘Two Sentence Horror Stories’ (2019) or trying to find the roots of terror in the internet age, the story adapts Stephen King or his son Joe Hill – squaring a strange circle for the boy reading comics on the internet. the first adaptation—and many other writers, with a decidedly retro feel, with the comic strip curtain and the creeper introduction of the story from the first tape

‘Creepshow’ is nothing more and nothing less than an expression of the need to relocate capsule terror and artisanal will. Familiar with the recent and lively ‘Nightmare Cinema’ (2018), an anthology that puts the spirit of festivity and traditional special effects above its own resources, the Nicotero series reveals its many flaws in staging locations, digital and indoor optics and grain, which in some episodes completed with dignity but without being able to escape the conditions of its production for a certain audience willing to forgive everything for its latex monster galleries and blandiblub, or its designs drawn from excellent comics and animatronics. “

Farther from the original tone than you think
In fact, the spirit is the same as the “official” Creepshow series of the eighties, the much-needed ‘Tales from the Beyond’ (Tales from the Darkside, 1983-1988), in which Romero and Tom Savini extended the film concept to a series regular without being able to using the brand due to property issues. It is even more similar to the official film – the actual ‘Creepshow 3’ – and the series that continues the film with the same team and less media, ‘Monsters’ (1988-1990).

The overall result is very disorganized, with an imbalance between overly prominent segments and story choices that range from simple and beautiful to far-fetched and clunky. ‘Creepshow’, this series could, or should, be much better, but since it’s the only one in its category with the desire to do another kind of horror, it’s a lot of fun in its best segment. It should be noted that in the end there is more attention in many aspects, confirming that there are different categories of episodes in relation to, let’s say clearly, cheapness or lack of indulgence.

The big problem with this series isn’t its retro attitude or its willingness to do something for fans of other fan groups. It’s an escaped talent in special effects and there are no major concerns about frames, optics or staging. Ultimately it is a product not much different from ‘Creepshow 3’ (2006) in its aim to take advantage of the brand under a bad endowment. The difference is There are a number of good segments that are very valuable, although regular or bad segments indicate a series seam is too light.