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Time to Revisit…’Tales From the Crypt: Demon Knight’

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Ever wonder why some of your favorite lesser-known horror movies sit idly by while other films seem to capture all the glory? I know I do. That’s why I’ll be taking a look at a few horror movies over the next few days and weeks that I feel merit much more appreciation than they’ve actually received. Further, I’ll be holding these under-appreciated gems up against the examples of much more prominent similar movies to make my case for why they deserve a reappraisal.

In this edition, I take a look at the overlooked 1995 supernatural horror flick Tales From the Crypt: Demon Knight and discuss why fans of Sam Raimi’s first two Evil Dead entries – as awesome as those movies are – could maybe stand to throw a little recognition in the direction of Ernest Dickerson’s dust-collecting mini-classic.
Beloved Favorites: The Evil Dead (1981) and Evil Dead II (1987)

Number of votes on IMDB: 49,409 and 47,475, respectively

The Plots: An assortment of individuals, led by valiant protagonist Ash, become stranded in a remote cabin and must do battle with an evil force capable of possessing the bodies of the living and transforming them into murderous demons.

Why they’re so celebrated: While tonally quite different from one another, the first two films in the Evil Dead series are landmarks of the horror genre and famous for kick-starting future Spider-Man director Sam Raimi’s career. Their “D.I.Y.” origins, over-the-top grotesqueness and willingness to “go there” (I’m particularly referring to the infamous “tree rape” scene in the first entry) won over legions of hardcore genre fans, and in subsequent years the films have become widely accepted as horror classics by both top-shelf movie critics and more mainstream filmgoers. Not to mention, they are regularly cited as major influences by several future auteurs of the genre.

Why it’s time to backburner them for awhile: Make no mistake: I am in no way suggesting that Evil Dead 1 and 2 are bad movies, or somehow undeserving of the praise they have received. They are, in fact, excellent films, and they’ve proven remarkably influential on subsequent generations of independent filmmakers. But that’s just the thing: we all know they’re great, we all recognize their importance in the scheme of the horror genre, and many of us have probably watched each of them at least half a dozen times. Maybe it’s time to take a step back for a bit? Revisit a similar title that doesn’t garner near the amount of recognition as the Evil Dead films but perhaps deserves a little more appreciation? Possibly a film like…

Undervalued Also-Ran: Tales From the Crypt: Demon Knight (1995)

Number of votes on IMDB: 6,942

The Plot: An assortment of individuals, led by a mysterious stranger named Frank, must fend off a horde of monsters in a remote boarding house when the Collector, a vicious demon disguised as a man, comes to retrieve a mystical artifact from Frank’s possession that has the power to open the gates of Hell.

Why it’s not so celebrated: The first of a planned trio of Tales From the Crypt spin-off films, Demon Knight posted respectable enough box-office and home-video sales/rental numbers to warrant a second (though essentially unrelated) entry in the series – the inferior Dennis Miller vampire flick Bordello of Blood – but it nevertheless failed to make much of a dent in the popular consciousness. Though it certainly has a few admirers, it’s now generally viewed as a failed experiment at extending the Tales from the Crypt brand into a successful theatrical franchise. It also debuted at a time in which the horror genre was at a relative low point both artistically and commercially, with Scream nearly two years away and the slasher boom of the `80s long since relegated to the cultural dustbin.

Why it deserves a revisiting: Ok, I’ll admit that director Ernest Dickerson (Bones, The Walking Dead) is no Sam Raimi – he doesn’t possess near the amount of stylistic panache – but with Demon Knight he managed to deliver a fun, solidly-crafted supernatural horror flick that stands as one of the most underrated genre entries of the `90s. Blessed with a very good cast including Billy Zane, William Sadler, Thomas Haden Church, and CCH Pounder (Jada Pinkett is in it too) and sporting some genuinely impressive (and wonderfully gory) practical effects work, Dickerson admirably balances the horror and comedic elements in a way that doesn’t feel forced.

The film also boasts some sharply-drawn (though expectedly broad, given the genre) characters and a mythology surrounding the central MacGuffin (a mystical key containing the blood of Christ) that works surprisingly well. While the film doesn’t reach the same manic heights as the Evil Dead films, it’s still a fast-paced, energetic ride that’s definitely worth a (second?) look for anyone who counts themselves as fans of Raimi’s early work.

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Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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