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Nightmares & Dreamscapes: The Fifth Quarter (TV)



Nightmares & Dreamscapes The Fifth Quarter reviewStarring Samantha Mathis and Jeremy Sisto

Directed by Rob Bowman

Written by Alan Sharp

There are some Stephen King stories that just don’t get me. That’s right. Rabid fan that I am, there are a few…a very few…stories that are just ‘eh’ to me. They don’t grab me. “The Fifth Quarter,” which appears in Nightmares & Dreamscapes, is one of them. It’s not bad, per se. That is to say, technically, it’s well written, and there are interesting parts in it…but as a whole, it’s just not my cup of tea.

“The Fifth Quarter” is the story of an ex-con (Willie, for the purposes of TNT, though the narrator has no name in King’s story) played by Jeremy Sisto. In King’s version the narrator is planning a job, but his former cellmate Barney can’t wait and signs up for a job with some bad cats. He ends up dying from a gunshot wound to the gut, but not before he manages to tell his buddy about the score. In order to avenge his friend, and get a whole pile of money to boot, the narrator tracks down one of the conspirators and starts shadowing him, with plans to get all the pieces of a treasure map that leads to the dough.

King’s version and screenwriter Alan (Rob Roy) Sharp’s version differ almost immediately from the opening scene. Willie (Jeremy Sisto) is still in the clink and sends his good buddy Barney to stay with his wife, Karen (Samantha Mathis), and young son in the hopes he can stay clean so they can go legit once he’s out. In her final visit before Willie comes home, Karen tells him that Barney’s disappeared after hooking up with an ex-con named Cappy McFarland who works with him at an amusement park, a fact which upsets Willie a great deal.

Karen, who also works at the amusement park and is sweet and trailer trashy, welcomes Willie back with open arms but reminds him that now that he’s out, he’s gotta stay out – that’s their deal. There is some awkwardness between them – not at all eased by Karen’s interest in how Willie “managed” inside for seven years right after they’ve had sex – but Sisto and Mathis do a good job of portraying a struggling married couple. At this point I wasn’t so upset with the changes to the story. Like I said, in my opinion, the original story left room for improvement.

But of course, things go downhill. Barney shows up, shot in the gut, like in the story. He manages to tell Willie the story of Cappy’s score – during a really drawn out scene where they have to find excuse after excuse to send Mathis’ character out of the room so she doesn’t hear the story, which is ridiculous considering they’re in a trailer the size of a matchbox. Still, he tells Willie about the big score (three and a half million) and how Cappy hid it somewhere and drew a map that he then divided up four ways (Barney, Keenan, Sarge, and Jagger…Cappy’s dying so he doesn’t need one).

Keenan tries to get Barney’s quarter, shooting him in the process and thus begins the story. Oh, and Barney’s dying exclamation is, “No hard feelings about me and Karen…” I guess he felt he had to die with a clear conscience and didn’t want the fact that he’d banged his best buddy’s wife while he was in the slam weighing him down. So, instead of the carefully planned shadowing and capturing of Keenan and Sarge that King pulls off in the story, Sharp sends Willie on a haphazard revenge tear.

Barney told him where Keenan lives, so he goes there, shoots Keenan in the arm, and gets his quarter of the map. Two down, two to go. Luckily, Sarge shows up at just the right time, and Willie gets the drop on him, forcing Sarge to take him to his house and get the third quarter . At this point, the mysterious Jagger shows up, having finished off Keenan, shoots Sarge, and tries to do the same to Willie, who takes one in the shoulder. Luckily, Sarge has one last hurrah in him and trips Jagger up, allowing Willie to kill him and get the final quarter of the map.

Most of the changes they’d made up to this point hadn’t made the story any better, but they didn’t really make it any worse either. It was still kind of a blah story. But at this point Sharp leaves the confines of the story (which ended with the narrator only having three quarters, since Jagger didn’t have his on him) and tacks on an ending I’m still puzzled over. Parts of it were good, and the irony was nice…but then parts of it were just way off the mark.

Sisto and Mathis Nightmares & Dreamscapes The Fifth Quarter review

Once Willie gets all four quarters, he returns home to his trailer and his loving wife. She admits the affair with Barney, saying that they were just giving each other a little comfort because they both cared about Willie so much…and also intimating that Barney told her Willie and Barney were a whole lot closer in jail than Willie let on, and if she could understand that, then he should be able to understand what happened between them. Apparently (and dubiously), Willie can accept that and gives her the map to hold onto since the cops are on their way and Willie’s got a bullet in his shoulder and will be going back into prison.

Karen promises the map will be safe with her while he goes away again, and the cops cart him off. He tells them he and Barney got in a fight over Barney sleeping with his wife, Barney shot himm and he shot back, killing Barney. Now, despite the fact that the cops showed up out of the blue, they apparently can’t connect him to the murder of Keenan, Sarge, or Jagger (which makes me wonder how they managed to be showing up at all). Willie seems a little cocky, taunting the cops that they’ll have to find Barney’s body before they can do much to him, only to find out they’ve already dug him up with the help of a cadaver dog. It seems like Willie is going to go away for a long time – which is where the delicious irony was.

If they had ended it here, I might have enjoyed this episode a good deal more. The acting was really good…I’ve always loved Jeremy Sisto, since he played Elton in Clueless, and liked Samantha Mathis in a few different things, most notably The Thing Called Love. Director Rob Bowman, who also handled “Umney’s Last Case,” did another interesting job with the look of “The Fifth Quarter.” It has a sort of washed out, gritty feel that is the exact opposite of the slick and colorful look of Umney’s. And Sharp wasn’t completely off. He even snuck in a little tip of the hat to diehard King fans if you listen real close.

But he should have known when to quit. If it had ended with us knowing Willie was going away forever (or maybe getting the needle?), I would have been a little pleased. But he didn’t. Instead, he ends with Karen discovering the secret of Cappy’s map and the hidden money…a secret that is mind-numbingly retarded. The map isn’t of an island off the coast of Maine; it’s a clue that the “booty” is hidden in one of amusement park rides…Buccaneers of the Caribbean Adventure Ride!

Now, apparently that’s supposed to be because Cappy was so sick with the cancer he couldn’t get far to hide the money. But come ON! The reason they decide to hide the score after the robbery is because they’re new bills — marked — and they can’t be spent for several years without the guys getting pinched. So, Cappy, who’s supposedly a shrewd and wily ex-con, hides the stash in a treasure chest full of plastic jewels in an amusement park ride that may not even be there in a year?

Overall, considering that the short story itself was rather mediocre, everyone did a decent job up until that ridiculous ending. It wasn’t a total loss, but it wasn’t worth staying up for either. I’m not particularly looking forward to next week, except that it’s the end of the series. Next Wednesday the offerings will be “Autopsy Room 4” (it will be interesting to see how much they show and how they adapt that particular story) and “You Know They Got A Hell Of A Band,” a story I love and am now sure they will not do justice to. So far, except for “The End of the Whole Mess,” which was wonderful, I’d recommend you read the stories and skip these adaptations…

3 out of 5

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Through the Cracks – Trick or Treat (1986) Review



Starring Marc Price, Tony Fields, Lisa Orgolini, Glen Morgan, Gene Simmons, and Ozzy Osbourne

Directed by Charles Martin Smith

I have been a horror fan for more than half of my life at this point. Meaning I have seen most of the quality horror offerings under the sun. But that said, every once in awhile a classic sneaks past so we wanted to create this “Through the Cracks” review section for such films.

Case in point, I had never seen the Halloween horror flick Trick or Treat until last night. I know, right? How the hell did that happen? But these things do happen and so for everyone that has seen the flick a million times, this will be a review of the movie from a super horror fan that – at the age of 33 – is seeing Trick or Treat for the very first time.

Now let’s get to it.

First off you have to love the movie’s plot. Mixing horror and heavy metal seems like a given, yet preciously few films Frankenstein these two great tastes together.

Like many of you out there, I am a big metal fan as well as a big horror fan. The two seem to go together like chocolate and peanut butter. Or Jason and horny campers.

I dig bands like Black Sabbath, Judas Priest, and even those hair metal bands (Dokken forever!) and I’m well aware of the legends surrounding playing these records backward.

Off the top of my head, the only other flick that combines the two to this degree is the (relatively) recent horror-comedy Deathgasm. I say more horror-metal flicks! Or should we call it Metal-Horror? Yeah, that’s a much more metal title.

It only makes sense that someone, somewhere would take the idea of “What if Ozzy Osbourne really was evil and came back from the dead (you know, if he had passed away during his heyday) to torment a loner fan?” Great premise for a movie!

And Trick or Treat delivers on the promise of this premise in spades. Sammi Curr is an epic hybrid of the best of the best metal frontmen and his resurrection via speaker is one of the great horror birthing scenes I have seen in all my years.

Add to that the film feels like a lost entry in the Nightmare on Elm Street franchise. More specifically the film feels like it would fit snugly in between two of my favorite entries in that series, Dream Warriors and The Dream Master.

This movie is 80’s as all f*ck and I loved every minute of it.

And speaking of how this film brought other minor classics to the forefront of my brain, let’s talk about the film’s central villain, Sammi Curr. This guy looks like he could share an epic horror band with the likes of Mary Lou from Hello Mary Lou: Prom Night II and the Drill Killer rocker from Slumber Party Massacre Part II.

Picture that band for a moment and tell me they aren’t currently playing the most epic set in Hell as we speak. I say let’s see an Avengers-style series of films based on these minor horror icons sharing the stage and touring the country’s high school proms!

In the end Trick or Treat has more than it’s fair share of issues. Sammi Curr doesn’t enter the film until much too late and is dispatched way too easily. Water? Really? That’s it?

That said, the film is still a blast as director Charles Martin Smith keeps the movie rocking like an 80’s music video with highlights being Sammi’s rock show massacre at the prom and his final assault on our hero teens in the family bathroom.

Rockstar lighting for days.

Even though the film has issues (zero blood, a rushed ending) none of that mattered much to this horror hound as the film was filled to the brim with striking horror/metal imagery and a killer soundtrack via Fastway and composer Christopher Young.

Plus you’ve got to love the cameos by Gene Simmons (boy, his character just dropped right out of the movie, huh?) and Ozzy Osbourne as a mad-as-hell Preacher that isn’t going to take any more of this devil music. P.S. Watch for the post-credits tag.

More than a few of my closest horror buddies have this film placed high on their annual Halloween must-watch lists. And after (finally) viewing the film for myself, I think I just may have to add the film to mine as well. Preferably on VHS.

Trick or Treat is an 80’s horror classic. If you dig films like Popcornand if you put the film off like I did, remedy that tonight and slap a copy in the old VHS/DVD player.

Just don’t play it backward… God knows what could happen.

All said and done, I enjoyed the hell out of my first viewing of Trick or Treat. But what do YOU think of the film? Make sure to hit us up and let us know below or on social media!

Now bring on Trick or Treat 2: The Prom Band from Hell, featuring Sammi Curr, Mary Lou Maloney, and Atanas Ilitch’s Driller Killer from Slumber Party Massacre Part II!

  • Trick or Treat (1986) 3.5


Charles Martin Smith’s Trick or Treat is a sure-fire Halloween treat for fans of 80’s horror flicks, as well as fans of heavy metal music.

User Rating 3.59 (22 votes)
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AHS: Cult Review – Clowns, Cults, Politics, and Peters



Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)


The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

User Rating 4.13 (23 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror




Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods

The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.


  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom


In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

User Rating 3.95 (20 votes)
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