Also known as: Shocker: No More Mr. Nice Guy (alternative title) Release Date: October 27th, 1989 Directed by: Wes Craven Written by: Wes Craven Music by: William Goldstein Cast: Michael Murphy, Peter Berg, Cami Cooper, Mitch Pileggi, Ted Raimi, Heather Langenkamp, Wes Craven, Kane Roberts, Dr. Timothy Leary, Jessica Craven, John Tesh
“We can’t go killing people just to get Pinker out of their bodies.” – Jonathan Parker
As I’ve stated in other reviews, I’m really not a big fan of Wes Craven outside of A Nightmare On Elm Street. He was always in the same conversations with John Carpenter but his body of work is weak sauce in comparison, regardless of Elm Street being one of the best horror films of the decade.
Shocker is no different and because I’m not super keen on Craven, I had actually never seen it until now. In fact, I remember seeing the trailer for it when I was ten years-old and thinking it looked stupid as hell.
While I don’t mean to sound overly harsh, that’s kind of how I felt about a lot of Craven’s stuff when trailers would drop.
This movie was a total clusterfuck, It tried to do way too much with its story and didn’t really let anything settle into place before throwing more layers of papier-mâché onto the still wet pieces beneath.
At first its a slasher movie, then it becomes some weird ass shit where the killer travels through TVs, electricity, infrared waves and satellite dishes while the killer also travels in and out of other people’s bodies, so that you’re always guessing who the killer could be. So basically, there’s three concepts all wedged into one movie and Craven never really seems to fully commit to any of it.
Not to mention, the main kid that the killer wants to kill has some sort of psychic connection to the killer. Why? Who the fuck knows, man?!
The only real positive about the film is Mitch Pileggi, who plays the killer. Most people remember him for playing Skinner on The X-Files. It’s cool seeing him in this role, as his character is so over the top and batshit crazy that it’s a huge contrast to the character he’s become most famous for. Plus, I’ve always liked the hell out of Pileggi and this is worth a watch if you feel the same way. Without him, this movie would’ve been the worst in Craven’s filmography. He, at least, makes it palatable to a point.
Also known as: Clive Barker’s Candyman (complete title) Release Date: September 11th, 1992 (Toronto International Film Festival) Directed by: Bernard Rose Written by: Bernard Rose Based on:The Forbidden by Clive Barker Music by: Philip Glass Cast: Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, Ted Raimi, Vanessa Estelle Williams
“They will say that I have shed innocent blood. What’s blood for if not for shedding? With my hook for a hand, I’ll split you from your groin to your gullet. I came for you.” – Candyman
This movie is adored by some within the horror community but it’s just never really resonated with me. The weird thing, is that I love Tony Todd in just about everything he does and this certainly is his most iconic role. However, the film just kind of falls flat and it’s hard to care about much within it but I’ll explain.
To start, the film does lure you into a dreamlike state, almost immediately, by the enchanting, interesting and unique score by Philip Glass. However, even though I like the score, I don’t specifically like it for this film, as it gives it a weird tone and for me, at least, it doesn’t quite fit.
That’s also not to say that it’s not somewhat effective, as it does put your brain in a strange place. But that strange place sort of wrecks the film. Just because something is effective doesn’t mean that its effect is a good creative choice.
I have several issues with the film beyond this.
Firstly, the score doesn’t really help the pacing of the film, which moves slower than a drunk snail crossing over a maple syrup spill. In fact, it makes the film seem slower, as it tries to constantly enchant you and put you to sleep.
Secondly, it never really clearly defines who or what the monster is. You also don’t really understand what his powers are. Almost every time you see him, he appears to have the ability to teleport. Yet, at the end of the film, when he’s stuck in a giant pile of burning trash, he doesn’t teleport out, he just burns to death.
Thirdly, the ending is bizarre and doesn’t make a lot of sense. Does Virginia Madsen actually take the Candyman’s place as the monster? The ending implies such but this isn’t anything that’s ever revisited in the sequels. Granted, I haven’t seen the third one but I’m pretty sure it’s left unanswered and continuity doesn’t mean jack shit with these movies.
Fourthly, the film is just full of a lot of random, baffling shit. Like why was there a giant mountain of garbage in the first place? How did days go by and no one heard the missing baby in the next door apartment? What baby doesn’t cry every fifteen minutes? When Virginia Madsen calls for Candyman, she just gets drunk and goes to bed, why didn’t he appear instantaneously to butcher her and her friend like he did the girl in the beginning? This movie has more holes in its plot than a hobo has in his underwear.
However, there are some positives in this movie, like the performances from Madsen and Todd. They’re really good despite the picture feeling like a house of cards waiting to collapse in on itself.
Additionally, this flick does a superb job of making duality a theme throughout the picture. There’s the duality between white and black people in Chicago, the duality of there being a supernatural Candyman and a real world drug dealer who adopted the Candyman persona, there’s also the duality of the dream world and reality, as you’re never quite sure what’s actually happening at certain points.
There are a lot of layers to the movie but the problem is that none of them are as clearly stated as they need to be and they sort of get lost in the overall production being lackluster, the pace being too relaxed and the general dreamlike presentation.
The point is, this film should be more effective in regards to its social and political commentary. I don’t know if the director just didn’t want to hit people over the head with it but sometimes a story can benefit from that. The biggest issue with it is that Candyman, as a character, needed to be more defined and clearly tied to the themes of the film. At least the first sequel gives you his origin and clues you in to who he is, why he is and how this is all supposed to make sense in a clearer way.
Overall, this is a movie I’ve always wanted to like but I’m just kind of meh about it. From memory, I like the second one better but I’m going to re-watch it soon and then do a proper review of it.
Rating: 6/10 Pairs well with: the other films in the series, as well as Wes Craven’s The People Under the Stairs.
Also known as: 3 (trailer title) Release Date: April 3rd, 2007 (Uruguay) Directed by: Sam Raimi Written by: Sam Raimi, Ivan Raimi, Alvin Sargent Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Christopher Young Cast: Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris, Thomas Haden Church, Topher Grace, Bryce Dallas Howard, J.K. Simmons, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Dylan Baker, Elya Baskin, James Cromwell, Willem Dafoe (cameo), Cliff Robertson (cameo), Joe Manganiello (cameo)
Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 139 Minutes, 137 Minutes (Editor’s Cut)
“Whatever comes our way, whatever battle we have raging inside us, we always have a choice. My friend Harry taught me that. He chose to be the best of himself. It’s the choices that make us who we are, and we can always choose to do what’s right.” – Peter Parker
While this wasn’t as bad as I remembered, there are still some things that are very off about this picture.
Starting with a positive, I do like the visual tone of this film the best out of the trilogy. It abandoned that overly copper, sunset look the other ones had and most of the film takes place at night or in normal daylight.
However, the improvements in the visual look are overshadowed by the film’s very shoddy CGI effects. It’s kind of baffling but this is the worst looking film of the three when it comes to digital effects. I’m not sure if the studio cut some corners or were rushed but most action heavy CGI sequences looked like a video game. It was distracting and pulled you out of the magic.
I think it’s possible that they overextended themselves in trying to include both Venom and The Sandman, as it’s damn near impossible to create those characters, in all their glory, without the use of CGI. In fact, their battles in the film needed to be larger than life spectacles.
Now the problem isn’t the use of either villain but it’s the use of both of them at the same time. Plus, Harry Osborn also becomes the new Green Goblin.
This picture suffers across the board because trying to wedge in three villains just didn’t work from a narrative standpoint and it forced the effects artists to focus their efforts into multiple effects heavy characters.
Now the film did a superb job with The Sandman’s story and if this movie just focused on him, it could’ve actually been incredible. The Sandman gets thrown to the side at multiple points throughout the movie though, as they then have to rush through Venom’s origin in the most half-assed way possible. Then they have to deal with Harry and his Goblin thing, Peter and Mary Jane’s relationship issues, introducing Gwen Stacy and even having Peter turn into an emo douche because I guess that’s what the Venom symbiote does in the movie universe.
The narrative is disjointed as hell but where it’s good, it’s great. But every time you really get into a portion of the story, it shifts gears or throws something stupid at you. The misfires and shifts are pretty maddening, especially when there are things in the film that work and come across as spectacular. It’s like you can see the real love for these characters rise up like cream to the top but then the filmmakers stir the coffee again. By the third act, they just keep throwing hot coffee in your face.
In a nutshell, this is a clusterfuck but it’s a clusterfuck that has greatness in it. I still like the movie despite its massive flaws and for fans of Harry Osborn, his journey comes to a beautiful end. With it, the film hits you right in the feels, as you feel the pain that Peter and Mary Jane share over the loss of their dear friend and how wrecked their own relationship has become.
The film does leave you with some hope but the ending is still kind of a downer. Granted, they planned a followup (or three) to this film but those movies never happened.
In the end, this movie was a weird end to the film series. I know it wasn’t intended to be the send off for these characters but it left the film series in a strange, uncertain place. I would’ve liked to have seen this cast get to make at least one more picture but that ship has sailed.
Maybe a comic book sequel could work but with the comic industry being in the shitter, waiting to be flushed, that’s probably wishful thinking. Plus, they’ve already rebooted the film series twice since this came out.
Rating: 7.5/10 Pairs well with: the other two films in this mostly great series.
Also known as: Spider-Man: No More, Spider-Man 2: Lives, The Amazing Spider-Man (working title), Spider-Man 2.1 (recut version) Release Date: June 25th, 2004 (Lithuania) Directed by: Sam Raimi Written by: Alvin Sargent, Alfred Gough, Miles Millar, Michael Chabon Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Danny Elfman Cast: Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris, Alfred Molina, Donna Murphy, J.K. Simmons, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Dylan Baker, Daniel Gillies, Vanessa Ferlito, Elya Baskin, Hal Sparks, Joel McHale, Emily Deschanel, Joey Diaz, Chloe Dykstra, John Landis (cameo), Willem Dafoe (cameo), Cliff Robertson (cameo), Phil LaMarr (uncredited), Peyton List (uncredited)
Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 127 Minutes, 135 Minutes (extended cut)
“We need a hero, couragous sacrificing people, setting examples for all of us. Everybody loves a hero, people line up for ’em, cheer for them, scream their names, and years later tell how they stood in the rain for hours just to get a glimpse of the one who told them to HOLD ON a second longer. I believe theres a hero in all of us, that keeps us honest, gives us strength, makes us noble. And finally gets us to die with pride. Even though sometimes we have to be steady and give up the thing we want most, even our dreams.” – May Parker
I always thought of Spider-Man 2 as the superior film between the first two. However, having revisited them for the first time in over a decade, I think they break even. And that’s a good thing, as the first was a wee bit better than I remembered and this one was just about the same.
I like the story and the stakes in the first one better but this film has what I consider to be one of the greatest moments in superhero film history, if not the greatest.
That moment comes at the end of the train battle where Spider-Man exposes himself to the people on the train while he is risking his own life to save them from a horrible death. Those people, in a very powerful moment, stand up for Spidey and vow to protect his identity. Shit gets me misty… every fucking time.
The rest of the film is pretty great too and while I get bored with there being a lot of romance in superhero films, Sam Raimi did a stupendous job with these pictures, as he truly captures the emotions and the heartbreak of the characters, showing both sides of the equation equally and fairly.
A lot of the credit also has to go to Tobey Maguire and Kirsten Dunst, who played these roles greatly while also having incredible chemistry. Sure, their story gets a bit fucked up in the third film but I’ll review that one in about a week.
Another thing I like about the film is how Raimi foreshadows things to come. Spider-Man is exposed to the public, which sort of foreshadows his identity becoming known to his love Mary Jane and his best friend Harry Osborn, who has vowed to get revenge on Spider-Man for the accidental death of his father.
It also foreshadows stories to come after this film by including Dr. Curt Connors, the man who would become The Lizard, as well as J. Jonah Jameson’s son, who would become Man-Wolf. Granted, Raimi never got to explore these characters more, as Spider-Man 4 and the films following it were eventually cancelled after the third movie misfired pretty hard.
It also felt like the groundwork was being laid for a Sinister Six story, which would become a focal point of The Amazing Spider-Man films that followed but that series was also cancelled in favor of another reboot that brought Spidey into Disney’s Marvel Cinematic Universe via Captain America: Civil War and his own solo films and guest appearances that followed.
Anyway, getting back on the topic of this film, my only real criticisms of it are the same as the previous one and that’s the visual style of it and how it looks overly copper. Granted, that feels like it is less of a problem here and the visual aesthetic was a bit more fine tuned and natural looking.
Apart from that, I just don’t like Dr. Octopus as much as I liked the Green Goblin. Both characters had weird designs and outfits in these movies but with the films being so good, you quickly look passed that. But Octopus feels kind of generic and uninspiring. While I like Alfred Molina in the role, I felt like he needed more meat to chew on and a much better look. In the end, however, you do really sympathize with him when he realizes what he’s done and decides to undo his work in an effort to save New York City and redeem himself in the eyes of Peter Parker, a kid he likes and respects.
Wrapping up two movies, this picture has an absolutely perfect ending. If the series ended here, it probably would’ve been remembered even more fondly but we did get that third film that derailed everything and it sort of left a stink on top of the series. Plus, after this, it would’ve felt almost criminal not to continue on.
Rating: 9/10 Pairs well with: the other two films in this mostly great series.
Also known as: Spider-Man: The Motion Picture (working title) Release Date: April 30th, 2002 (Philippines premiere) Directed by: Sam Raimi Written by: David Koepp Based on:Spider-Man by Stan Lee, Steve Ditko Music by: Danny Elfman Cast: Tobey Maguire, Willem Dafoe, Kirsten Dunst, James Franco, Cliff Robertson, Rosemary Harris, J.K. Simmons, Joe Manganiello, Bill Nunn, Elizabeth Banks, Ted Raimi, Bruce Campbell, Randy Savage, Octavia Spencer, Macy Gray, Lucy Lawless, Jim Norton
Marvel Entertainment, Laura Ziskin Productions, Columbia Pictures, 121 Minutes
“Remember, with great power comes great responsibility.” – Uncle Ben
Spider-Man blew my mind when it came out in 2002, as the vast majority of comic book movies before it were terrible. Also, Marvel didn’t have a good track record up to this point, other than 2000’s X-Men, which was just one movie that seemed to have taken a step in the right direction.
Sam Raimi made magic, however, and seeing this for the first time in a very long time, I’ve got to say that the magic is still there. Frankly, I loved this movie in 2002 and I love it now in 2020.
Side note: how the hell is this 18 years-old already?
From top to bottom, this is a solid picture. Sure, I have some issues with the creative direction but it achieved what it set out to do, which was to tell a great origin story, close to the source material, and to entertain and give fans something spectacular.
On top of that, it’s well acted, everyone plays their parts well and even if Tobey Maguire wasn’t 100 percent perfect as Spider-Man or Peter Parker, it’s hard not to love him and become invested in his journey. I’m from the camp that really liked Tobey Maguire and I still think he’s the best live-action Spider-Man, overall.
I also thought that Willem Dafoe was genius casting as Norman Osborn a.k.a. the Green Goblin. While I’m not a fan of the Goblin’s suit in the movie, as a character, his was pretty close to perfect. It actually kind of sucks that they only really got to use him in one film but the story that emerged from his demise makes up for it, as these movies become just as much about Harry Osborn’s journey, as they are Peter Parker’s.
This is just so well crafted and executed that it set the bar really high for the series. It would actually be eclipsed by the second movie, which I once considered a near masterpiece. We’ll see how I still feel about it in another week or so. Let’s try not to talk about the third film until I review that one. I have a feeling that time did it some favors in spite of its creative misfires.
Anyway, the emotional high points of this movie still hit me right in the feels and regardless of having seen this multiple times, it’s all still very effective. The Uncle Ben stuff really feels like a punch to the gut, even if you know it’s coming and you’ve already experienced it.
Apart from the Goblin costume, my only real gripe about the movie is the overly copper look to it. It’s not terrible but I’m not a fan of everything sort of looking like it was shot at sunset, excluding the night scenes. This just feels really filtered and overly vivid. It’s an obvious creative choice but it’s not one that makes the visual presentation look more like the comics. Well, maybe the comics of the time but it kind of detracts from what could’ve been a more colorful, more cheerful look to the film, more akin to the classic artwork and tone of Steve Ditko.
One thing that really stood out to me quite a bit was Danny Elfman’s score. What happened to movie scores? There really aren’t very many that are that memorable in modern times and this one just really points that out, as it’s dynamic, energetic, fun and I’d say, by this point, iconic. While it’s not on the level of Elfman’s Batman scores, it feels more refined and complex and it doesn’t come off as derivative of his older work, which some of his scores do.
Spider-Man still is one of the best superhero movies ever made. I think it’ll maintain that status forever, as it helped push Marvel properties down the right cinematic path and it exceeded 2000’s X-Men by quite a bit.
Rating: 9/10 Pairs well with: the other two films in this mostly great series.
The Evil Dead film series is something I watch quite a lot. I probably have a mini-marathon about once a year or so. With the Evil Dead revival TV series making waves at Starz, I figured I’d rewatch the films again. I have had a strenuous few weeks with work, travel and helping people move. So I needed a nice relaxing weekend to veg out and soak in some good film watching. Well, what’s better than a series of classic horror comedies to get lost in for several hours?
The Evil Dead (1981):
Release Date: October 15th, 1981 Directed by: Sam Raimi Written by: Sam Raimi Music by: Joseph LoDuca Cast: Bruce Campbell, Ellen Sandweiss, Hal Delrich, Betsy Baker, Sarah York
Renaissance Pictures, New Line Cinema, 85 Minutes
“Thank you. I don’t know what I would have done if I had remained on those hot coals, burning my pretty flesh.” – Shelly
If you have never seen the original The Evil Dead, then you have done yourself a disservice.
First off, this film introduced the world to Bruce Campbell – one of the greatest horror icons of all-time and a good actor who has the comedic timing and presence of some of Hollywood’s greatest comedians.
Secondly, it introduced the world to director Sam Raimi – a man who has gone on to make some pretty amazing films, the most notable (after the Evil Dead trilogy) being Spider-Man 2. We’ll ignore Spider-Man 3.
The Evil Dead follows some friends who go to a cabin in the woods, a formula that wasn’t redundant at the time. There they discover an evil book and some tape recordings that release some demonic evil on the group. Their horrible misfortune becomes our violent, frightening yet very hilarious entertainment. Never has a film offered up so much disturbing dread and still nailed it with comedy. Well, except Evil Dead II.
The most amazing thing about this film is that it was well below even being low budget. I don’t think there was really any budget at all and that is where the filmmaking skill of the young Raimi came through. He was able to create a world full of high quality practical effects for next to nothing. Filmmaking like this is truly a lost art for the most part. The Evil Dead is a standard bearer of what can be done when money is non-existent but passion far exceeds limitations.
Evil Dead II (1987):
Release Date: March 13th, 1987 Directed by: Sam Raimi Written by: Sam Raimi, Scott Spiegel Music by: Joseph LoDuca Cast: Bruce Campbell, Sarah Berry, Dan Hicks, Kassie Wesley, Richard Domeier
Renaissance Pictures, Rosebud Releasing, Embassy Communications, De Laurentiis Entertainment Group, Palace Pictures, 84 Minutes
“Groovy” – Ash Williams
Evil Dead II is an interesting follow-up to the original. The first ten minutes are a condensed loose remake of the first film while the following hour and fifteen minutes continue where that story left off.
This film is superior to the first in that there is a slightly higher production value and that allowed Sam Raimi’s ingenuity to be that much better. They still had a shoestring budget but that extra cash improved the look of the practical effects, as well as the sets, costumes and overall use of gore. Everything was more refined and cleaner than its predecessor.
From a story standpoint, this is the strongest of the films. It is also the fan favorite, as it is the quintessential Evil Dead movie. It is bookended with a rehash of the first film and the introduction to the world of the third film. It is a perfect bridge, tying the trilogy together. As the centerpiece of the three films and adapting elements of each chapter, this one also allows the tale to evolve the most and it plays like The Empire Strikes Back of this gore-filled, hilarious horror trilogy.
Evil Dead II is everything that made the first film great but done more masterfully. It is an amped-up successor that is one hell of an insane ride.
Army of Darkness (1992):
Release Date: October 9th, 1992 Directed by: Sam Raimi Written by: Sam Raimi, Ivan Raimi Music by: Joseph LoDuca, Danny Elfman Cast: Bruce Campbell, Embeth Davidtz
Renaissance Pictures, De Laurentiis Entertainment Group, Universal Pictures, 81 Minutes (US), 88 Minutes (International)
“Alright you Primitive Screwheads, listen up! You see this? This… is my boomstick! The twelve-gauge double-barreled Remington. S-Mart’s top of the line. You can find this in the sporting goods department. That’s right, this sweet baby was made in Grand Rapids, Michigan. Retails for about a hundred and nine, ninety five. It’s got a walnut stock, cobalt blue steel, and a hair trigger. That’s right. Shop smart. Shop S-Mart. You got that?” – Ash Williams
The third film isn’t even called Evil Dead. It also takes the most liberty of all three of the original films, as it deviates from the environment established over the course of the first two chapters – bringing our hero into the Middle Ages where he must find a way back home while combating the evil forces once again unlocked by the evil book, the Necronomicon.
This film is the least terrifying and has the most comedy. Although, it is still dark, twisted and can be frightening at times. It is also the only one that I saw in the theater when it came out, as I was too young and unaware of these films when the previous ones were released.
Where Evil Dead II is the quintessential Evil Dead movie, Army of Darkness is the quintessential Bruce Campbell movie. Never has he been better and more bad ass. By this point, Campbell was really comfortable with the role and played it so naturally, that he and Ash Williams have become one. He’s tough as nails, even more hilarious and this is probably where audiences most fell in love with him.
The Middle Ages setting is refreshing and gave this series a much needed curveball while still being true to the heart and spirit of the great films before it.
Evil Dead (2013 remake):
Release Date: March 8th, 2013 (SXSW) Directed by: Fede Álvarez Written by: Fede Álvarez, Rodo Sayagues Based on:The Evil Dead by Sam Raimi Music by: Roque Baños Cast: Jane Levy, Shiloh Fernandez, Lou Taylor Pucci, Jessica Lucas, Elizabeth Blackmore, Bruce Campbell (post-credits cameo)
Ghost House Pictures, FilmDistrict, TriStar Pictures, 92 Minutes
“Mia’s not here, you fucking idiot! Your little sister’s being raped in Hell!” – Mia
The remake isn’t really a remake but more of a retelling that happens in the same universe to a different group of people. While it takes certain liberties to differentiate itself from the original films, each film in the original series also found ways to deviate from the established plot. It may be hard to figure out where this fits exactly but that isn’t much different from how the second film fits with the first, as it treads the same water but alters the original’s back story.
This film is the first to not be directed by Sam Raimi, although he produced it, oversaw its production and gave it his blessing. Also, the addition of Bruce Campbell in a cameo after the credits adds credence to the film.
Evil Dead is different in tone in that it focuses a lot more on horror and is truly terrifying from start-to-finish. The cinematography is top notch, the acting is better than one would typically get in a horror film and the characters are mostly likable. Plus, this film had a nice budget.
Compared to the original trilogy, this film isn’t as good. Compared to modern horror, it could very well be a masterpiece. It isn’t some PG-13 CGI fest with nothing but jump scares and irritating teenagers. In a sea of “found footage” horror schlock, this movie is refreshing and kind of groundbreaking. It doesn’t really give anything new to the genre, it just reinvigorates it and reminds us of what true cinematic terror can be.
I like this film a lot, as I have been a huge horror fan my entire life and this, at least, sets itself apart from the mediocre shit that modern horror has become.
Original Run: October 31st, 2015 – current Created by: Sam Raimi Directed by: various Written by: various Based on: The Evil Dead film series by Sam Raimi Music by: Joseph LoDuca Cast: Bruce Campbell, Ray Santiago, Dana DeLorenzo, Lucy Lawless
The Evil Dead film series is one of the greatest things to come out of the awesome 80s. It gave us a great universe full of deadites, demons, rapist trees and Dark Age shenanigans. For years, fans wanted a fourth film. What we eventually got, is much better.
I was skeptical about Ash vs Evil Dead but I was still really optimistic. I’ve never really disliked Bruce Campbell in anything and Sam Raimi, the series’ creator and director, was returning for the pilot and was heavily involved in the show. Point blank: this show is fucking incredible!
As much as I like the film series, the television program takes a very disjointed tale and makes it a lot more coherent. Ash vs Evil Dead seems to take most of its story from the second film, which is regarded by most to be the best. It also acknowledges things from the first movie but it is more closely attached to Evil Dead 2.
The show follows a good plot thread that works better in this episodic format. By the time you get to the last three episodes of season one, those actually feel like a fourth movie. The quality is there, the dread is there and the evil cabin in the woods just feels right.
The cast is great. Pablo makes a perfect Robin to Ash’s Batman. I guess that makes Kelly, Batgirl. The addition of Lucy Lawless as Ruby makes the cast a perfect storm of contrasting personalities. The cast makes this show work and the new characters make Ash better and more dynamic. Plus, with the talent that all these actors bring to the table, the show isn’t completely on Campbell’s shoulders.
The score to the series is also well done. Joseph LoDuca, who scored the original films, brings back his familiar sounds but with decades of experience that he didn’t have in 1981.
If you love The Evil Dead, Evil Dead 2 and Army of Darkness, there is no reason why you shouldn’t love Ash vs Evil Dead. It is a better sequel than a film could have been. Plus, it just feels more meaningful and it could go on for awhile. It will be interesting to see where this show can go, as season two already widened the mythos quite a bit.
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