Masters of Horror

When I saw "Cigarette Burns" it felt as though I was watching a great horror feature film.

This was definitely the best "Masters of Horror" episode. Just when I thought John Carpenter had "lost his eye" for the genre. This one is a classic.

I was totally creep-ed out by this one. The story was very involving and Udo Kier was fantastic as usual.

Thanks to Showtime for keeping this series going. I hope that it continues on with new episodes later this year. They've done a great job in getting the best horror directors and writers for the series.

When I learned of this series, I was thrilled. I'm a big follower of some of the directors involved, such as Tobe Hooper, John Carpenter or Dario Argento, and the idea that they would be given freedom and resources to direct one-hour self-contained horror stories made me shiver with anticipation.

The results, however, are a mixed bag. Don't take me wrong, most of the directors involved seem to be in good shape, and the stories have potential, but the writing and the acting are, with some notable exceptions, just by the numbers.

Anyway, if you like horror you won't mind spending a few hours with the lesser episodes. They're still above average, and the series has enough hidden gems to keep you wanting more.

My favorite episodes were, in no particular order: "Incident on and off a road mountain" (Don Coscarelli), "Cigarette Burns" (John Carpenter), "Deer Woman" (John Landis)and "Sick Girl", directed by Lucky McKee.

I just heard the series has been renewed for another season. All I can say is that I will keep watching it.

I find that "Masters of horror" is a good continuation of the style of independent short horror stories that was the trademark of "Tales of the crypt" (among others). They share many similarities, one of which is the very irregular overall quality, with some remarkable episodes that are scary fun to watch many times, and others that are simply embarrassing to watch as episodes of a show that is supposed to bring you the best of horror by many film-makers who earned a reputation in this genre; but still, most have some redeeming quality, be it the irresistible campiness, a good story (though badly developed), or decent acting. There were few episodes which I personally found boring (having said this, I would advise anyone to stay away from "Chocolate").

Some episodes feel a little too long, while others ("Deer woman", remarkably) would have benefited from a good quarter of an hour more of running time. Most have at least some gore, many have varying degrees of dark humor, and there's a good amount of sexy contents, too. What stands out most and links this show to the aforementioned "Tales from the crypt" is that most episodes have this underlying feeling of poetic justice and that the "bad guys" get what they deserve, which is quite refreshing.

A friend of mine bought vol 1 of season one and I thought: Hmm, maybe this is something like modern Tales From The Crypt or maybe a modern version of Tales From The Darkside so I decided to see one episode, which was Cigarette Burns. Before I borrowed it, my friend said it contained scenes of extreme gore so I thought it would be another ordinary splatter, but I was so wrong. It turned out to be the scariest thing I have ever seen... The violent and gory scenes weren't scary, but the small clips from the movie: "La Fin Absolude de Monde" scared me to death. I can honestly tell you that Cigarette Burns is John Carpenters finest work.

Saw Homecoming two weeks ago in Torino (Italy). Mastepiece of political horror, sharp satire, antiwar manifesto and critic to the cynical political engineering of the actual White House. It was the European premiere and Joe Dante got a ten minutes standing ovation. The movie is linked to previous pieces like The Second Civil War and Small Soldiers, and the glance at actual US politics is not optimistic. Still, he has space for witty humor. Shot in Vancouver in only ten days, with a micro budget, excellent actors and Rob Picardo (the best) it is one example of how vision, intelligence and wit can provide more than a mega budget for an empty blockbuster. With committed liberal and brilliant filmmakers like Joe Dante there is still hope.