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CREEPSHOW Season 4 Review

Neil reviews the fourth season of Shudder’s brilliant anthology series CREEPSHOW. Season 4 premieres Friday, October 13 on the horror steamer.



Creepshow (Shudder)

Creepshow returns to Shudder, AMC+ and AMC on Friday, October 13th, with a six-episode binge premiere on Shudder and AMC+ and new episodes airing weekly at 10:00 pm ET/9c on AMC linear.


Based on George A. Romero’s iconic 1982 horror-comedy classic, Creepshow is still the most fun you’ll ever have being scared. A comic book comes to life in a series of vignettes, exploring terrors ranging from murder, creatures, monsters, and delusions to the supernatural and unexplainable. You never know what will be on the next page…


This time next week the classic horror-anthology series Creepshow will return with a brand new season. It’s fourth on the premium horror streamer from AMC. First brought to the big screen in 1982 by horror royalty George A. Romero, the Shudder series continues under the watchful eye of Romero protégé Greg Nicotero, he who has been steering the ship at The Walking Dead.

The fourth season consists of another six episodes which exemplify the series’ ability to subvert expectations. Nicotero, who directs the opening chapter, has meticulously pulled together a group of writers with diverse perspectives on the world. Each bringing a unique flavour to their given story. From stranger danger to immersive computer games and vampires through to zombies. Creepshow season 4 is a melting pot of ideas which really covers a full spectrum of horror.

I’ve had the opportunity to watch all six episodes (twelve stories) of season 4. I’m going to stay away from major spoilers but beware, there may be some minor plot points ahead.

What has always struck me as most engaging about Creepshow is its ability to hook you with horror and leave you with a message. Horror is a genre which is at its most effective when it becomes an analogy for real life and that is something Nicotero has clearly always strived to achieve with the show. That’s never more apparent than in stories like Byron Willinger and Philip de Blasi’s “The Hat” in episode two. Directed by Kailey and Sam Spear, the story finds budding novelist Jay (Ryan Beil) struggling to resist an offer from his agent to help spark his creativity. In the age of influencers and content creators, what’s more timely than a story of compromise over creativity?

Another prime example of Creepshow striking a contemporary chord comes in episode four’s “Meet the Belaskos”. Written and directed by John Esposito, the story strikes deep in to suburban racial tensions. When a vampire family moves in to a picturesque neighbourhood it quickly sets tongues wagging. But when vampire teen Anna (Karis Cameron) falls in love with human boy-next-door Alex (Matthew Nelson-Mahood) it’s a step too far for defacto-white supremacist Doug (Donavon Stinson). It bares a striking resemblance to real-world tensions and yet is never coercive in its approach.

Elsewhere the series’ incredible penchant for practical effects is in full swing. Episode two’s “Grieving Process” and the Nicotero directed “George Romero in 3-D!” in episode six both feature spectacular makeup designs. Whilst “To Grandmother’s House We Go” (episode three) and “Baby Teeth” (episode six) typify the kind of creature design work that has become synonymous with the franchise. It’s at times stomach churning but in the best way possible and nothing short of award-worthy.

In fact season 4 is one of the most practical, option to create as much terror as possible in-camera. Episodes repeatedly feature optical illusions and camera trickery to bring puppets and nightmare scenarios to life. Ghostly apparitions interact with environments through classic film-making techniques and blood splatters by the bucketload to dramatic, Hammer Horror-like levels. Only in episode five’s “Something Burrowed, Something Blue” do outright CGI visual effects come in to play. As with previous seasons, the Creepshow production team ensures that visual effects are minimised and used for dramatic effect. Keeping within the reaches of budget rather than removing the viewer from the action by reaching beyond its means.

Several familiar faces pop up across the fourth season. None more exciting than Keegan Connor Tracy in the brilliant “To Grandmother’s House We Go”. The Bates Motel fan in me instantly recognised the former Miss Blaire Watson as she plays Marcia, who takes her stepdaughter to grandmother’s house to claim their inheritance, and nothing can stand in her way. Over the years Creepshow has used stunt casting to dramatic effect. But if season 4 proves anything it’s that the series strong writing doesn’t need recognisable faces in order to drive home its message.


Creepshow returns with perhaps its strongest set of stories to-date. Exquisitely produced and always subversive, the fourth season seductively runs the gamut of horror sub-genres.



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