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Netflix Just Dropped a Horror Anthology Series That Is to Die For


Guillermo del Toro really loves all things spooky, grotesque, and dirty — not to mention he has a special hobby. for implicit languages and animals with slimy tentacles. So he proves to be a perfect MC for Municipal Cabinet of Guillermo del Toro, an eight-part Netflix anthology (October 25) that brings together some of the best horror artists for a series of unsurpassed horror stories. Ideally suited for the Halloween season, this collection of original and adapted stories is devoid of horror, delivering scares, heartache and madness in a surprisingly fun style. course. So electricity and inspiration are these hour-long episodes that you’ll wish there were twenty more episodes along the way.

Channeling spirt of everything from Alfred Hitchcock Gifts and Night Gallery arrive Story from the Tomb and Master of Horror, Cabinet of Curiosity is a goldmine for macabre movie enthusiasts, offering a handful of interconnected shorts under themes of grief and loss, greed and arrogance, ambition and curiosity — most all of which get their protagonists in trouble in other worlds. In many ways, these unrelated chapters traverse similar terrains, focusing on rats, corpses, cemeteries, autopsies, ruins, rituals, séances, obscure passages, and animals grotesque vampire cried from the other side. However, despite those shared elements, there is not a single element that repeats within the group; Thanks to the arrival of a successful team of directors, the series is simultaneously cohesive and diverse, plowing up familiar ground to exploit a vast amount of uncanny riches.

That’s certainly true of “Graveyard Mouse,” Vincenzo Natali’s adaptation of Henry Kuttner’s story about a cemetery caretaker (David Hewlett) who steals the dead’s valuables as a means to pay off his large debts. As for his troubles, he flees in a network of buried tunnels inhabited not only by hordes of hungry rodents but their giant mother – as well as a sworn enemy. Natali’s entry is at once creepy and devilishly funny, and that balancing act is echoed by some of its countrymen, such as Ana Lily Amirpour’s “The Outside,” in which a plain bank teller (Kate Micucci) tries to fit in with her outwardly attractive — if basically rotten and chatty — co-workers by how to use mail order lotion, supernaturally, by Dan Stevens’ Huckster TV. Both elicit a brand of sombre laughter, as did Tim Blake Nelson as a gruff racist storage unit scavenger who buys more than he bargained for in “Lot 36” “Excellent by Guillermo Navarro.

Navarro’s part culminates with a monstrous vision indebted to HP Lovecraft, and that popular author also provided source material for two Cabinet of Curiosity episodes: Keith Thomas ‘”Pickman’s Model” and Catherine Hardwicke’s “Dreams in the Witch’s House.” Previously, Ben Barnes’ artist was fascinated and then terrified of Crispin Glover’s paintings of mysterious strangers, who turn out to have a sinister family history and insight into the darkest corners of the world. reality. Thomas’s contribution benefits from the excellent Glover and Barnes, while Hardwicke’s thrives on Rupert Grint is a young man – and member of a spiritual society – who is obsessed with accessing the afterlife so he can be reunited with his beloved departed sister. As one might expect, this is a stupid quest that involves moving to a witch’s house, and it soon puts him on the cross of that wicked man and her rat-like minions. ta.

As if those things weren’t enough to create Cabinet of Curiosity a success, del Toro arranges a reunion between Jennifer Kent, director of The Babadook and star Essie Davis (with ZombieAndrew Lincoln) for “The Murmuring,” about a couple of ornithologists whose groundbreaking research on dunlins — and their herd (psychic?) instincts — takes them to a distant beach house. far away, where they were forced, by weeping and screaming ghosts, to face the tragic cause of their own estrangement. Kent creates an equal amount of discomfort, intrigue, and sickness, thanks in large part to Davis’ dramatic performance as a traumatized woman grapples with the spirits that haunt her abode. and more pressure than sadness dogged her working days and sleepless nights.

All of them introduced by del Toro (along with the literal version of the title object), Cabinet of Curiosity‘episodes are economic models, setting tone, character and menace without a single wasted gesture. While most horror anthologies are typically narratively and aesthetically scattered photographs, del Toro’s synopsis perfectly captures a gritty degree of unity. However, there are still two highlights, one of which looks closer to the production model than the other. It will be David Price’s “The Autopsy,” a terrifying nightmare about a pathologist (F. Murray Abraham) who is invited by his former sheriff friend (Glynn Turman) came to examine the bodies of men killed in a landmine accident. The cause of this underground catastrophe is interstellar, and the revelations about it are as astonishing as its atmosphere is eerie; like he did with his big screen debut Empty manThe former evokes a mood of inexplicable fear by tapping into categories of malice beyond the veil.

While most horror anthologies are often autobiographical and aesthetically discursive, del Toro’s summary captures just the right degree of gritty unity.

More amazing, however, is “The Viewing,” the brainchild of director Panos Cosmatos, who – in partnership with screenwriter Aaron Stewart-Ahn – plunges headlong into incomprehensible madness with a story set in 1979 scene of a scientist (Charlyne Yi), an author (Steve Agee) and a music producer (Eric André) who is summoned to the home of a mysterious billionaire (Peter Weller), where he shares with the adept doctor about his syringe (Sofia Boutella). The reason for this gathering is also difficult to understand because Cosmatos’ management is very sinister; His dreams of fading, dragging slow motion and smooth zoom go a long way towards enhancing an atmosphere of unprecedented horror. Boasts an eerie ’70s sci-fi decor that captivates people and has a former vibe Beyond the black rainbow and Mandyit’s a slowly building up to the kind of crazy climax that will make David Cronenberg (or Lovecraft, for that matter) beamed with pride.

Featuring stand-alone sequences that last no more than an hour and are powered by some of the horror genre’s brightest talent (both in front of and behind the camera), Cabinet of Curiosity is the ideal fall streaming release. If Netflix were smart, it would instantly refresh del Toro’s series for another 5 seasons.

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