Creepshow (1982)
Directed by George A. Romero
Five grisly tales from a 1950s-style comic, including a murdered father rising from beyond, a bizarre meteor, a vengeful husband, a mysterious crate's occupant, and a plague of cockroaches.
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What critics compared Creepshow to
Ang Lee's Hulk (2003), Robert Rodriguez's Sin City (2005) and Zack Snyder's 300 (2006) have all exploited advances in digital technology to find visual stylisations that reflect a comic-book's layout - but before all of these, and before the CGI effects that made them possible, there was Creepshow, George A Romero's tribute to the ghoulish EC Comics of his youth.
Several films (notably George A. Romero's Creepshow) have toyed with the same concept, but Hulk comes loaded with a staggering array of formalistic tools: split screens, frames within frames, wipe cuts, and fade outs of all varieties.
It captures the macabre playfulness and irreverent energy that have long drawn audiences to the author’s work, earning its place alongside Creepshow (1982) and Maximum Overdrive (1986).
Osgood’s death scenes are rather like the campy ones you’d expect in an installment of “Tales from the Crypt” or “Creepshow”—pretty boring stuff, however complicated.
Some are sprawling prestige dramas (The Shawshank Redemption, The Green Mile), others lean into psychological terror (Misery, Gerald’s Game), and then there are the delightfully deranged oddities (Creepshow, Maximum Overdrive).
These were all movies that irreverently stripped away the seriousness that had filled the horror genre throughout the late 1960s and 1970s, and replaced it with a willful sense of the comic, which ranged from outright slapstick in Raimi’s films to the dark, EC Comics-inspired humor of George Romero and Stephen King’s Creepshow (1982).
Why does an alien fern capable of shape-shifting and possessing humans need to resort to shit weasels ( Alien ) and evil fungi (Creepshow) of indeterminate intent?
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George Romero and Stephen King’s Creepshow is arguably the best horror anthology movie ever made – but has Romero and King’s masterwork done more harm than good?
One can discern shades of George Romero’s 1982 anthology Creepshow , specifically the segment “The Lonesome Death of Jody Verill,” which was based on a Stephen King story that was itself influenced by Lovecraft’s “Color.”
Like George A. Romero and Stephen King’s Creepshow (1982), part of the film’s pleasure is its evocation of an older storytelling medium through cinematic language (where Romero used comic book panels and garish lighting to suggest old EC comics from the ’50s.
Obsession is a movie which plays like a love letter to classic 80s-90s horror, such as The Evil Dead series, Creepshow, Tales From The Crypt, Re-Animator, almost every John Carpenter movie ever shot, Hellraiser, and Candyman…
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Mr. Mercedes, The Mist, Castle Rock, Creepshow) and nine film adaptations (CELL, THE DARK TOWER, IT, 1922, GERALD’S GAME, PET SEMATARY, IT CHAPTER TWO, IN THE TALL GRASS, and now DOCTOR SLEEP).
On the lower end of King originals, I have a cheerful fondness for King's "Creepshow" collaboration with George Romero and the movie he wrote and directed, the merrily numbskulled "Maximum Overdrive."