User reviews

The first short was weak. It did that annoying thing where it screws up the timing. You spend most of this short waiting for the reveal, and even when you catch onto it, the characters in the short still are teasing the "twist". That by the time it's revealed, any shock with the twist reveal is dead and disappointing.

AS FOR THE SECOND Short, What a weird but creepy short. I could see how this was considered slow and dull by a lot of people, but I liked the slow burn. They're two shorts in this episode both relying on the slow burn gimmick. This one I felt nailed it. ARGUABLY, and I can see this being a point of contention, like with the first one, it burns out the wick if you will. Didn't have jump scares, was slow and calm which I felt made it more unsettling and creepy.

I feel like the first one was the proper pulp that Creepshow is known for, and the second short was a little too sophisticated for this show. You change a few things here and there and it would have been at home as a Night Gallery short or Tales from the Darkside.

I went into the new "Creepshow" series without many expectations, but was pleasantly surprised by the good first, and the even better second segment of episode 1. The tales are simple but effective, with the exact right doses of macabre atmosphere, flamboyant story twists, one or two shock-effects, and a tiny bit of gooey gore. What's not to like? "Gray Matter" unites great actors like Adrienne Barbeau and Tobin Bell (because of all these inferior "Saw" movies, you'd almost forget that he's a good actor), but also serves a grisly tale of a widower how gradually mutates into a slimy monster due to alcoholism and isolation. The monster effects and make-up are cool, and the climax is grotesque. That's a good start as far as I'm concerned. "The House of the Head" is very original, with kind of like a home invasion/slasher plot but set in a little girl's dollhouse. Young Evie keeps her fancy and antique dollhouse, and the family who lives there (The Smithsmiths!) very tidy, but when she finds a severed ghoul's head in the sofa, she senses there's a tragedy approaching. Not that much happens in the segment, but the atmosphere is genuinely grim and ominous. Also, good to see that John Harrison - who made "Tales from the Darkside" 30 years ago already - is still a director in this new project.

'Gray Matter'. Scripted by Byron Willinger and Philip de Blasi, based on a memorably nasty short story by Stephen King. A trio of old-timers - Dixie (Adrienne Barbeau), Chief (Tobin Bell), and Doc (Giancarlo Esposito) - come to the aid of young Timmy (Christopher Nathan). Timmy's father Richie (Jesse C. Boyd), a widower, has become a slovenly drunk who begins to transform horribly after drinking some "bad beer". And all of this while a hurricane is about to hit their town. There is some excellent spooky atmosphere, and a definite feeling of stylizing - note the sets and the Dutch angles. It all leads to a suspense finale at the Timmy / Richie family home where we learn that Richie has progressed to devouring more than just beer. Ultimately, the ending to this is not altogether satisfying, but getting there is still pretty fun, with some effectively gooey and sloppy makeup effects, and a monster played by Andy Rusk. The actors all do a very good job at selling this macabre material. Directed by series creator Greg Nicotero. Barbeau, of course, was very memorable herself playing Billie in the original "Creepshow" 1982 feature; Esposito had had an amusing bit part in the King-based "Maximum Overdrive".

'The House of the Head'. Written by Josh Malerman ("Bird Box"), and directed by John Harrison. This is truly something different, a home invasion / slasher / supernatural horror mash-up that takes place inside the magical dolls' house owned by Evie (an adorable Cailey Fleming). The interesting set-up involves the figurines appearing in various positions, and we get a little story-within-the-story that takes place without the benefit of dialogue. It's rather chilling in its own small-scale way. Evie tries placing a cop figurine and a Native American figurine inside the dolls' house to alter the course of the story, but to no avail. Again, the ending might not be to every viewers' complete satisfaction, but this viewer gives Malerman credit for giving a familiar plot a fresh perspective. All in all, this segment is also well done, but is a more interesting story in general. Director Harrison is no stranger to the horror anthology format, having done "Tales from the Darkside: The Movie" in 1990.

This viewer is happy that horror veteran Nicotero is doing his best here to keep the tradition of horror anthologies alive. Hopefully this series can continue for as long as possible.

Seven out of 10.

The first short story Grey Matter had a good build up, with great special effects with a slow reveal, which ultimately falls apart in the end.

The House of the Head was really well done and pulls you in. No need for great special effects or jump scares here, as the thrill is all in what happens next and how it'll end. I think most would agree that this was the stronger story.

All in all, I am enthusiastic about the following episodes. Creepshow always has done well exploring the darker and psychological side of horror. Love it!!

Gray matter is not bad at all, actually good, and the twist was surprising. The house of the head part is truly gripping and scary, the idea is fresh and the build up was good...well done!

First half started off good then turned to utter garbage! Second half redeemed itself and was actually really well done

The first part is so unbelievably bad that I had to lift my eye brows and growl a few times. But the body horror in thr final review is almost worth it.

The 2nd part is a fun little flick with very minimal blood. I can myself using this to scare some tweens when the kids are at the right age.

Over all, I'd give the show another shot.

Sets the bar pretty high. Good stuff for fans of horror anthology series of the 80's like Tales from the Dark Side and Monsters.

I hope they maintain this level of story driven episodes. I only skipped to the end of two episodes because I found them preachy without the merit of being creative or original.

If writers have something sociopolitical to say, they really should do it in the context of something interesting, otherwise it comes across as pretentious and ham fisted.

Other than that minor complaint, I'm really impressed with most of these episodes.

The series did seem to start with its best foot forward. These first two episodes are hard to top, especially the second.

The part 1 was great too

but the part.2 just better! low cost(compare with part1)great story teller

I really liked the older Creepshows. So when I heard they were playing this series on AMC I was right there. They do have some cast members that are well known but that wasn't enough. Boring is to say the least. It was just so dumb. I think it was the way they told the story. I have a good imagination and I really wanted to like it but this is bad. I'm going to watch the last episode and see if it is any better... Maybe everyone was still in the learning stages and hopefully the series got better with time. I'll see...

Honestly, the only redeeming feature of Gray Matter is the cast. Not even the fact that it's early Stephen King matters, it's that badly executed. Seeing icons Tobin Bell and Giancarlo Esposito together is great, as is the fact that they brought back Adrienne Barbeau from the original Creepshow movie. The rest sucks.

The House of The Head, on the other hand, is great! It's the perfect length; Cailey Fleming is excellent as young Evie, a girl with a dollhouse inhabited by a doll family named The Smithsmiths, a doll family who are one day hunted and haunted by a disembodied head. Try as she might, she just can't seem to save them...or can she?

-second half was lame. Should've made the first half longer.

"Gray Matter" and "The House of the Head" (both 2019 entries under the Creepshow anthology banner) bring distinct flavors of horror to the table, one leaning into classic creature-feature territory and the other delivering a quietly brilliant exercise in dread. Directed respectively by Greg Nicotero and John Harrison, these two shorts are paired in the first episode of Creepshow's revived series and serve as a striking one-two punch that sets the tone for the show's blend of pulp, paranoia, and practical effects.

"Gray Matter" is steeped in that familiar Stephen King essence: a bleak setting, alcoholic sorrow, and something grotesque growing where it shouldn't. The stormy atmosphere drenched in shadow and mildew sets a heavy tone. The cinematography bathes scenes in sickly hues that echo the decay at the heart of the story. The pacing lingers a bit too long on exposition, but the payoff comes in the final stretch with practical creature effects that feel straight out of a '70s horror paperback come to life. While the performances are solid overall, Jesse C. Boyd deserves mention for grounding the outlandish horror in a believable emotional reality.

By contrast, "The House of the Head" is minimalistic and intensely creative. Told through the eyes of a young girl observing the eerie events unfolding within her dollhouse, it trades gore for psychological tension. The use of static shots and the deliberate, almost clinical placement of doll figures builds a mounting sense of unease. Cailey Fleming, best known for The Walking Dead, anchors the piece with a surprisingly mature performance. She captures a quiet dread without ever overselling it, which allows the audience to project their own fear into the miniature world she observes.

Together, these stories showcase two very different horror aesthetics. Nicotero's segment is messy, visceral, and steeped in Lovecraftian body horror. Harrison's entry is clean, controlled, and cerebral. What ties them together is a shared love of storytelling and a commitment to practical, tactile horror that feels nostalgic without being campy. While not groundbreaking, both segments are executed with care and show a refreshing respect for horror's many subgenres. A few pacing hiccups and predictable beats hold them back from greatness, but the craftsmanship and performances carry them to solid ground.