Maximillian is the only survivor from a race of vampires on a Caribbean Island, and as a vampire, he must find a mate to keep the line from ending. He knows that a child had been born to a ... See full summary »
Chiller is a 5-episode horror/fantasy anthology series originally shown erratically in the UK on ITV. The stories each involve, to some extent, the supernatural, and feature lead actors ... See full summary »
A werewolf loose in Los Angeles changes the lives of three young adults, who, after being mauled by the beast, learn they must kill their attacker if they hope to change their fate to avoid becoming werewolves too.
Portia de Rossi
With this endeavour, director Wes Craven will not, in all probability, please many enthusiasts of his other films, the majority of which involve a good deal of violence and bloodletting, but he does a workmanlike job with this account of storage cryogeny which goes awry. Wealthy Marian Creighton (Bernice Straight) has kept her son Miles (Michael Beck) in cryogenic suspension for ten years since his death from a liver disease, and when a computer failure results in his sudden thawing, his mother decides upon immediate liver transplant surgery for him, a procedure not available at the time of his demise. Although this surgery is successful, and Miles resumes his former station as CEO of the family corporation, an issue arises as to how one might know of the possible lack of his spirit, or soul, whereas the other two elements of life, body and mind, have plainly been restored. The destructive behaviour of Miles is such that his mother and her clerical friend Reverend Penny (Paul Sorvino) begin to doubt that they should thank a higher power for delivering Marian's son to her, and a metaphysical inquiry becomes dominant in the film. Beatrice Straight gives, as ever, an excellent performance in her role, Paul Sorvino is tastefully nuanced as the troubled prelate, and Michael Beck obviously savours his part as the fulsome Miles, but Craven cannot seem to distance himself from his cinematic terror bromides, most of which become red herrings for a scenario which largely focusses upon ontology.
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