Romero’s collaboration on Creepshow (1982).īeyond the television adaptation, Zemeckis was so fascinated by the comics and the original 1972 movie, that he set out to create a sequel to the Tales From the Crypt film. Eventually the page gave way to the screen with adaptations like Tales From the Crypt (1972) and The Vault of Horror (1973), even spawning original interpretations from titans of genre storytelling with Stephen King and George A.
#Stray dogs comic series
While there has been anthology horror in film and print for as long as the mediums have existed, much of its modern influence can be traced back to the pages of 1950’s era EC Comics with series like Tales From the Crypt, The Haunt of Fear and The Vault of Horror. Like the concurrently running Tales From the Crypt television series the film’s director Robert Zemeckis was also Executive Producing, this was a tale of revenge and comeuppance rooted in the twisted irreverence of all the pulpy anthology horror that had come before it. From its opening moments, Death Becomes Her (1992) straddles that line, lumbering backwards in high heels as it navigates the immortal, warring, undead divas its runtime so concerns.
There is a wickedness that pervades even the lightest hearted genre pictures, a playful mean streak that goes with the territory of the otherworldly. A standing ovation, a friendly encounter in the dressing room and a wedding later, Helen finds herself alone in her apartment seven years removed, with nothing but her cats, the television and her hatred of her former friend Madeline Ashton to keep her company. Her apprehensive gaze is not on the stage but Ernest, clocking the hungry look in his eye as he follows each flamboyant movement of the actress before him. Ernest Menville and beside him is his date, Helen Sharp.
Still, inside, amidst the remaining audience members, at least one man stares captivated at the ingenue on stage as she launches into a number extolling her own virtues. Ashton’s smiling face as they grumble their dissatisfaction. Sheets of rain blanket the 1978 New York skyline as a marquis comes into view, touting its message in bright, pink letters: Madeline Ashton in Songbird! Rather than flocking in, however, the theater’s patrons seem to be flooding out, stepping on water logged playbills sporting Ms.
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