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In the meantime, a serial killer is at large during a notable heatwave in London. Her doctors are convinced her condition is temporary, though. The show’s gimmick was casting at least one American actor in every episode, and “ The Next Victim” stars Carroll Baker ( A Quiet Place to Kill) as the imperiled heroine.Īfter a serious car accident, Baker’s character Sandy uses a wheelchair to get around. One of the most celebrated horror writers of British television, Brian Clemens was the mastermind behind ITV’s Thriller, a collection of standalone suspense stories.
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“An Unlocked Window” was redone for the TV movie pilot with Fred Walton ( When a Stranger Calls) as both the director and writer.
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The update recycled the original and now colorized bumper segments featuring the show’s namesake these appeared only in remakes of classic episodes.
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The entire series was later revived in 1985 as simply Alfred Hitchcock Presents. James Bridges‘ (Mike’s Murder) teleplay keeps the characters absolutely wound up until that devastating finish. Newman‘s mood-building is nothing to dismiss either. “An Unlocked Window” hinges on its twist ending, yes, but director Joseph M. Going into the episode without any knowledge of what is to come is for the best. Has the killer gotten inside? Did he come through the open window in the basement? Soon, creepy phone calls come in and a disembodied voice fills the house. To make matters worse, a severe storm traps the nurses at work. Three personal nurses working in a patient’s secluded, country home hear the murderer is in their area. In “ An Unlocked Window“, a nurse strangler is on the loose. The same author’s The Wheel Spins is the basis of Hitchcock’s film The Lady Vanishes, while her book Some Must Watch was turned into The Spiral Staircase. One episode that stands out during the Hour era is an adaptation of an Ethel Lina White short story. Aside from the name change, everything else essentially remained the same. The Alfred Hitchcock Hour (1962-1965) “An Unlocked Window”Īlfred Hitchcock Presents was eventually retitled The Alfred Hitchcock Hour after several seasons. They might also be a total stranger with a taste for random victims. The villain can either be someone they know or someone they only just met. In the following five episodes from various horror TV anthologies, characters find themselves at the mercy of a killer, serial or otherwise. The glut of killers in pop culture today does not erase the fact that these human anomalies are entirely scary. Murder is their business, and wearing down prey is their game. And the second they show their true colors, it may already be too late to fight back. They hide in plain sight and escape detection they exemplify irrational evil. It’s in my Blu-ray player several times a year, perhaps only because The Fly is an overall more grueling experience. The litmus test of “ which one do I actually watch more?” The answer there is The Thing, hands down. So I can only go with my personal, subjective preference. I don’t have an objective statement to make about one’s quality over the other. Here’s the thing, I can’t categorically say that one film is better than the other. But isn’t it the point of The Thing‘s chilly disposition that you’re slightly numb to the outcome? The Fly perhaps pulls at the heartstrings more (you’re more likely to cry at the sight of Seth Brundle guiding a shotgun to his mutated head than you are at the prospect of Macready freezing to death offscreen). Both films have tight scripts that define character through action and cut all the fat. Both are anchored by an unrelenting sense of escalation and doom, you don’t get the sense that things are going to end well either way. On the other hand, you could say the same thing about Cronenberg and The Fly, which saw his body horror leanings reach delirious new highs and includes an almost career defining performance by Jeff Goldblum (and Geena Davis for that matter).īoth movies have excellent, top notch and incredibly inventive practical gore effects. On one hand, The Thing is a filmmaker at the top of his game (while I love Halloween, The Fog, Big Trouble in Little China, Escape From New York and They Live, Carpenter’s mastery reached its height here). How about John Carpenter’s 1982 masterpiece remake of The Thing pitted against David Cronenberg’s 1986 masterpiece remake of The Fly? Not so easy, is it? Not for me at least. I figured I’d pose a neck and neck challenge to myself and to you horror fans. Remake segment I pitted Zack Snyder’s 2004 Dawn of the Dead against Chuck Russell’s 1988 remake of The Blob and came out in favor of the latter, which is hands down one of my favorite 80’s movies.īut this week I figured I’d get interesting.