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[Review] “A Creepshow Holiday Special” is a Mixed Bag of Presents

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There’s an anthology resurgence happening on television right now and fans of episodic horror could not be happier. When it was first announced that Greg Nicotero was adapting Creepshow for Shudder, fans of George A. Romero’s 1982 movie were excited to see how the small-screen revival would compare. The rule of thumb with anthologies is not every story is as good as the next, and that’s an important piece of advice to remember when going through the show’s inaugural season. Regardless of any rough patches, though, it was clear this new Creepshow was a passion project with plenty of talent involved.

With a second season still underway, patient fans were given treats to tide them over: first an animated Halloween special and now an extended Christmas episode called A Creepshow Holiday Special. Previous installments were split up into two twenty-something-minute segments, but this episode devotes its entirety to “Shapeshifters Anonymous,” an adaptation of J.A. Konrath‘s short story of the same name.

The Creep is still feeling like too much of a silent participant in the series, and with this episode not having an intermission, there’s not much for the host to do other than receive a hairy transformation under a full moon or briefly sport a Santa hat at the very end. Nevertheless, his minimal screen time only leaves more room for the story itself. It’s a cold and snowy December night when Adam Pally’s character Robert Weston shows up at a church in search of a meetup group called S.A. He finds it tucked away in the basement where the gatekeeper Scott (Pete Burris) is wary of letting this unexpected guest come inside. Once Robert makes it past the door, though, we realize this isn’t your typical support group; “S.A.,” an initialism for “Shapeshifters Anonymous,” is really a meeting for therianthropes, or people who turn into humanoid animals like werewolves.

From there, Robert is introduced to a sparse but diverse group of characters: the doorman Scott is a were-tortoise, Irena (Anna Camp) is a were-cheetah, Andy (Frank Nicotero) is a wereboar, Ryan (Derek Russo) is a silent enigma, and Phyllis (Candy McLellan) is simply a furry who everyone else tolerates because they feel sorry for her. What brings Robert to S.A. is the concern that he might be the local serial killer dubbed the Naperville Ripper after he discovers strange objects in his stool that he doesn’t remember eating. The new member assumes he’s a werewolf, and based on his reaction to wolfsbane, he’s exactly right. While it seems like Robert’s finally found a safe place, he has an even more pressing problem to contend with: he’s been tracked by the dangerous disciples of Kris Kringle. In this world, apparently a souped-up version of Santa Claus is hellbent on wiping out all therianthropes. What should have been a typical S.A. meeting ends in chaos as Santa’s helpers then descend upon the church basement.

Because this holiday edition of Creepshow sounds more like an ambitious improv skit than something suitable for horror, “Shapeshifters Anonymous” truly works better as the talky and quirky comedy it starts out as. This unique take on the werewolf story gets off on the right foot by rolling with the punches and letting the cast fill in all the logic gaps with ample quips and firm but shallow characterization. Winsome dialogue between Pally and his committed costars distracts us from the fact that the monsters don’t even show up until half an hour in. And dare I say, the scenes of regular-looking people chatting in a basement about a shared supernatural lifestyle are somehow more engaging than the cartoonish bloodbath that comes later once it’s revealed Santa Claus is coming to town armed with finger weaponry forged by Lucifer himself.

The lore here, while definitely unique, requires bigger execution that a modest TV budget cannot provide; it’s either go big or go home if you’re aiming for a potential spectacle like “Shapeshifters Anonymous”. Even so, director Nicotero and the people at KNB EFX Group do a commendable job of bringing those various were-beasts and a malevolent, armored Santa to life. 

“Shapeshifters Anonymous” ends up being more of a droll superhero origin story than anything outright chilling; the final act is also a tad too limp. On the other side, the practical effects stand out, the cast is determined, and the buildup before the showdown with evil ol’ Saint Nick is amusing. Creepshow celebrates the holidays early with an inconsistent special that never quite lives up to its full potential, but there’s some fun within for all the good boys and girls who enjoy Christmas’s weird side.

Paul Lê is a Texas-based, Tomato approved critic at Bloody Disgusting, Dread Central, and Tales from the Paulside.

Movies

‘Winnie-the-Pooh: Blood and Honey II’ Review – Sequel Defies Expectations and Surpasses the Original

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Winnie the Pooh Blood and Honey 2

Winnie-the-Pooh: Blood and Honey broke the internet when it was first announced back in 2022. Disney fans and everyone else were caught off guard by the concept of the iconic toy bear and his stuffed pals becoming feral, but enough time has passed to where this current genre practice — turning public-domain material into horror films — is less of a shock. However, that didn’t stop folks from reacting with surprise when a sequel was reported last year. And with all the financial success from last time, this continuation has more resources at its disposal. That increased budget is evident on screen and partly why Winnie-the-Pooh: Blood and Honey II surpasses the original.

Returning director Rhys Frake-Waterfield is joined by Summer of ‘84 writer Matt Leslie, and their collaboration is a quasi-reset of the first Winnie-the-Pooh: Blood and Honey. The prior film is now treated as an in-universe adaptation of Christopher Robin’s horrific ordeal. The meta touch gives the sequel room to acknowledge the original film’s deficiencies as well as a chance to expand on the lore. As the “real” Christopher Robin (Scott Chambers) tries to now move on with his life while also enduring accusations from all sides, Winnie-the-Pooh (a.k.a. The Yellow Bastard) and his wicked storybook pals brew up their next violent course of action.

Beyond its opening act, the previous Winnie-the-Pooh: Blood and Honey was much too plotless and straightforward. Its only ambition was reimagining Pooh and Piglet as merciless killers. Sure, audiences mainly tuned in to see these characters carry out a massacre, but there is no denying that the execution was monotonous. That same kind of narrative redundancy is, thankfully, not in the sequel. Leslie penned a more sinuous script that doesn’t ever switch on the “autopilot” button. From probing Christopher Robin’s extensive trauma to revealing the origin of the Hundred Acre Wood villains (which now include Owl and Tigger), the second film is more structured and engaging.

On top of a better story, Winnie-the-Pooh: Blood and Honey II benefits from higher production values. The detailed creature designs and suits are more convincing than before; they don’t just look like actors in masks anymore. Simple yet favorable upgrades, such as articulating mouths and thorough skin texture, make these monsters persuasive as they work toward the film’s ultimate body count. The extra funding also allows for elaborate set-pieces, including a rave-set mass murder and a brief but exciting chainsaw sequence. In addition, Andrew Scott Bell’s score work in these films continues to be a highlight.

Winnie-the-Pooh: Blood and Honey II is a significant step up in certain areas, although there is the issue of tone. The sequel resumes the grave atmosphere from earlier as well as injects random, not to mention welcome spurts of humor (the intentional sort). Nevertheless, this film is generally an improvement on the first, which read like a parody due to its uncompromisingly severe delivery. Here, there are glimpses of campiness that make for a more entertaining experience.

This flawed but enjoyable sequel defies expectations — albeit low ones — and outperforms its predecessor on most levels. There is more to appreciate this time around. And if plans for the “Poohniverse” go as planned, this won’t be the last appearance of the bloodthirsty Hundred Acre Wood gang.

From Fathom Events, Winnie-the-Pooh: Blood and Honey II will screen in theaters from March 26 to 28.

2.5 out of 5 skulls

Pictured: Poster for Winnie-the-Pooh: Blood and Honey II.

Pictured: Poster for Winnie-the-Pooh: Blood and Honey II.

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