Masters of Horror premieres tonight at 10:00 pm, and in honor of its return, I'm blogging another new episode of the series' second season today, in particular John Landis's "Family" (by Brett Hanley). The great thing about anthology programs in general - and MOH in particular - is the versatility the format offers. "The Damned Thing" was straight-up gory horror, yet "Family" is a different breed all together.
In some sense, "Family" arises from the same genre school as that 1980s film The Burbs, or another 80s flick, The Stepfather. Basically, this installment serves as a critique of modern American suburbia, noting that the anonymity of these new communities (and gaggles of McMansions...) only makes it easier for a committed serial killer to do his thing. After all, our life-styles are always on the move these days. We moving from place to place (houses are investments in 2006, not just homes...), and we don't really have time (or the energy...) to put down roots in one place and really know our neighbors any more. Over the years, suburbia has gotten ribbed on The X-Files too (in the sixth season episode, "Arcadia,") but "Family" quickly finds a valuable niche. It's a satirical effort, unlike "The Damned Thing," and John Landis seems to be having a wicked good time with the material.
"Family" opens with idyllic, idealized views of the American suburbs. Lawns are neatly trimmed; flowers bloom under radiant sunshine; families and children work and play in apparent safety. Landis's camera soon roves in-doors, however, into the home of a most peculiar fella named Harold, played by George Wendt. The camera grants what Harold later calls his "grand tour," as the strains of Christian, gospel music play loudly on the soundtrack. A nice touch here: on one chest of drawers rests a portrait of a glowering Dick Cheney. Proof positive, if you ask me, that Harold is a nut...just look at the man he admires. Mr. "Last Throes" Delusional himself (important since Harold is delusional...). Anyway, the tour ends in the basement, where we meet Harold...and he's busy pouring acid on a decaying corpse.
You see, Harold kills people, burns off their flesh, scrubs their bones, and then lovingly re-constructs their skeletons to serve as his ad-hoc family. There's his little skeletal daughter, Sarah, his nagging wife, and his old man. During the course of the episode, we also witness Harold hunt a grandmother for daughter Sarah (who talks to him...) and consider also killing her a big sister.
As Harold lives his twisted family existence behind closed doors, the Fullers - David (Matt Keeslar) and Celia (Meredith Monroe) - move in next door. They quickly befriend Harold, and before long, the corpulent serial killer decides he'd like Celia to be his new wife. When David mysteriously disappears, Harold seizes his chance and invites the gorgeous Celia over for dinner. He wants to introduce her to his folks and Sarah...whom he has tenderly propped up in the TV room...in a pose of greeting.
This is the set-up for "Family," an installment which reminds us that, well, we don't always know our neighbors quite as well as we think we do. The episode moves along at a merry, swift pace until it culminates with a surprise ending and double-cross that balances the scales of cosmic justice. In terms of gore, one of the program's closing shots (in which the camera seems to travel up one character's nostrils...) also looks disturbingly real...
Not as gory as "The Damned Thing," "Family" shares in common with that episode is a dedication and commitment to something Hollywood often doesn't permit in genre films these days: sub-text. The commentary on suburbia subtly suggests that the middle class is going mad behind closed doors (and I'm not just talking about Harold, as you'll see when you watch the episode.) "Family" also benefits from Wendt's portrayal of a madman. This Cheers alum doesn't play the role as a lark and doesn't "camp" the character up either. Instead, he takes the part seriously. He plays a perfectly polite and genial fellow...who also happens to commit murder on a regular basis. It's a great, nuanced performance.
"Family's" ending, which brings just desserts to Harold (to the strains of more Jesus tunes...) is a fitting one, and the episode is a perfect treat for Halloween. If the rest of the season is as strong as the two episodes I've watched so far, it could be Halloween on Showtime all autumn long...
In some sense, "Family" arises from the same genre school as that 1980s film The Burbs, or another 80s flick, The Stepfather. Basically, this installment serves as a critique of modern American suburbia, noting that the anonymity of these new communities (and gaggles of McMansions...) only makes it easier for a committed serial killer to do his thing. After all, our life-styles are always on the move these days. We moving from place to place (houses are investments in 2006, not just homes...), and we don't really have time (or the energy...) to put down roots in one place and really know our neighbors any more. Over the years, suburbia has gotten ribbed on The X-Files too (in the sixth season episode, "Arcadia,") but "Family" quickly finds a valuable niche. It's a satirical effort, unlike "The Damned Thing," and John Landis seems to be having a wicked good time with the material.
"Family" opens with idyllic, idealized views of the American suburbs. Lawns are neatly trimmed; flowers bloom under radiant sunshine; families and children work and play in apparent safety. Landis's camera soon roves in-doors, however, into the home of a most peculiar fella named Harold, played by George Wendt. The camera grants what Harold later calls his "grand tour," as the strains of Christian, gospel music play loudly on the soundtrack. A nice touch here: on one chest of drawers rests a portrait of a glowering Dick Cheney. Proof positive, if you ask me, that Harold is a nut...just look at the man he admires. Mr. "Last Throes" Delusional himself (important since Harold is delusional...). Anyway, the tour ends in the basement, where we meet Harold...and he's busy pouring acid on a decaying corpse.
You see, Harold kills people, burns off their flesh, scrubs their bones, and then lovingly re-constructs their skeletons to serve as his ad-hoc family. There's his little skeletal daughter, Sarah, his nagging wife, and his old man. During the course of the episode, we also witness Harold hunt a grandmother for daughter Sarah (who talks to him...) and consider also killing her a big sister.
As Harold lives his twisted family existence behind closed doors, the Fullers - David (Matt Keeslar) and Celia (Meredith Monroe) - move in next door. They quickly befriend Harold, and before long, the corpulent serial killer decides he'd like Celia to be his new wife. When David mysteriously disappears, Harold seizes his chance and invites the gorgeous Celia over for dinner. He wants to introduce her to his folks and Sarah...whom he has tenderly propped up in the TV room...in a pose of greeting.
This is the set-up for "Family," an installment which reminds us that, well, we don't always know our neighbors quite as well as we think we do. The episode moves along at a merry, swift pace until it culminates with a surprise ending and double-cross that balances the scales of cosmic justice. In terms of gore, one of the program's closing shots (in which the camera seems to travel up one character's nostrils...) also looks disturbingly real...
Not as gory as "The Damned Thing," "Family" shares in common with that episode is a dedication and commitment to something Hollywood often doesn't permit in genre films these days: sub-text. The commentary on suburbia subtly suggests that the middle class is going mad behind closed doors (and I'm not just talking about Harold, as you'll see when you watch the episode.) "Family" also benefits from Wendt's portrayal of a madman. This Cheers alum doesn't play the role as a lark and doesn't "camp" the character up either. Instead, he takes the part seriously. He plays a perfectly polite and genial fellow...who also happens to commit murder on a regular basis. It's a great, nuanced performance.
"Family's" ending, which brings just desserts to Harold (to the strains of more Jesus tunes...) is a fitting one, and the episode is a perfect treat for Halloween. If the rest of the season is as strong as the two episodes I've watched so far, it could be Halloween on Showtime all autumn long...
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