Pro-Life

59/100. The main thing about this film that really bothered me through most of it was when the phone lines were cut. Okay, this is made in 2006, so you are telling me none of the dozen or so people in the building didn't have a cell phone to call the police? That old cutting the phone lines routine doesn't work anymore. It worked fine and added suspense to movies from other decades, but not today. As a story it was interesting, a sort of twist on Rosemary's Baby. It can be very unpleasant at times, and if you can get past the plot holes, it's pretty good. The acting is fine, good special effects for the most part. It certainly has it's creepy moments.

Look I went into this with low expectations given things I've read within the internet community ... but I'll be damned if this isn't one of the more fun and MOH episodes. It is however the type you have to make sacrifices for. You have to switch of your logic and be willing to overlook some plot holes and cover your ears for the occasionally poorly delivered line- but man, this is definitely a Carpenter film. It has his trademarks all over it, more so than Cigarette Burns. This has the look, the sound, the gloss and grime of a carpenter movie. I love it because it has all the basic elements of other films of his and is basically an awkward cut and paste best of assembler, but what the hey! its a ball. It is funny, with a nice score (although I can understand why some may have issues with it), features some great effects (one of which is genuinely urn-nerving, towards the end- a combination of practical and CGI- trust me, you will know it when you see it) and with some nice acting from 60percent of the cast. Perlman is great, just as he was in Desperation- with another juicy scenery chewing role.

In terms of expectation, don't go into this with another Cigarette Burns in mind. Think of it this way:

Cigarette Burns = Halloween Pro-Life= The Fog, Prince of Darkness, Village of the Damned

Have some fun, the message is nicely done and is at times quite disturbing, so be warned. A mess, but an entertaining mess at that.

Awful, uninventive, with b-movie special effects and even worse story.

Cigarette Burns was far superior, it had tension and atmosphere. this was just gore for the sake of gore held together by a lame unoriginal story, with awful special effects.

Season 2 of Masters has been very disappointing this time around, and Horrors are getting worse and worse.

I'm a big fan of John Carpenter which is why I was let down so Badly, there's many many more better stories out there.

If your a Carpenter fan, watch it purely so u can say you've seen it, but if your not, it's not worth the hour it takes to sit through it.

Of course, we are talking about a Masters of Horror episode here. It couldn't just be a simple "problem" we (and the characters) are facing here. Still, especially considering his Cigarette Burns episode, this almost feels like a step back. It's not a bad story, it's just pretty conventional and predicable.

Ron Perlman almost made me give this another star, I just like that guy, whatever role he's playing. And his character is most definitely the most complex one in this. The complete opposite to that is Emmanuelle Vaugiers character. She doesn't seem to be doing anything at all. And while looking good doing that (she always does), you wish she had something to say (not literally speaking).

There are quite a few other movie influences here that you will spot. Some are mentioned in other reviews, but all in all, if you are an avid moviegoer you will spot them yourself. That's not entirely a bad thing and even that a scene (you could call it "the inciting incident") is not really graphic, shouldn't be a problem. A more than decent episode than, but more action orientated than pure Horror (just saying in case you were expecting something like the Cigarette Burning episode)

This polarizing entry into the horror anthology delivers a technically proficient yet narratively uneven exploration of one of America's most contentious social issues. Director John Carpenter returns to form with his trademark atmospheric tension, crafting a claustrophobic medical facility that becomes a battleground for competing ideologies and supernatural forces.

The cinematography excels in creating an oppressive institutional environment, with sterile fluorescent lighting casting harsh shadows that mirror the moral ambiguity at the story's core. Carpenter's camera work maintains his signature wide-angle compositions, allowing the tension to build through spatial relationships rather than cheap jump scares. The practical effects work, while limited by television budget constraints, effectively conveys the story's more visceral moments without overwhelming the central human drama.

Ron Perlman delivers a commanding performance as the religiously motivated patriarch, bringing gravitas and conviction to what could have been a one-dimensional antagonist. His weathered presence anchors the film's more extreme moments, while Caitlin Wachs provides a compelling counterpoint as the young woman caught between competing forces. The supporting cast, including Emmanuelle Vaugier, contributes solid work within their respective roles, though some characters feel underdeveloped given the episode's ambitious thematic scope.

The story's supernatural elements provide effective horror beats, yet the overt political messaging occasionally overshadows the pure terror that made Carpenter's earlier works so enduring. While the director demonstrates his continued mastery of suspense and atmosphere, the heavy-handed approach to controversial subject matter may alienate viewers seeking straightforward genre entertainment. The episode succeeds as a conversation starter but stumbles slightly as pure horror cinema, resulting in a competent yet divisive entry that showcases both Carpenter's strengths and the limitations of politically charged genre television.