One
of the most intriguing aspects of Tales from the Crypt is the world in
which the television series and films live. On the surface it is classic
comedy-horror, highlighted by top shelf guest appearances and
inventive kill sequences that often revolve around an evil-doer's just
desserts. Beneath the veneer is a world akin to a Clive Baker novel: A
manic, violent place filled with sexual deviants, unusual customs, and an
esoteric set of rules that govern an alternate reality. This is realized
in Ernest Dickerson's Demon Knight, a fantastic standalone entry into
the Crypt Keeper's circus of the bizarre. Featuring a remarkable
ensemble, high octane soundtrack, and creatively grizzly visuals, this a must
see for any fan of cult horror.
Breaker
is a criminal on the run from an ethereal lawman. His journey takes him
to a rundown motel where the truth of his situation is revealed and the fate of
humanity rests in the hands of a cadre of lost souls. Dickerson's
careful, yet frivolous direction is one of the film's many charms.
Dickerson, a cinematic veteran, and respected African American auteur ensures
that his diverse cast each gets a chance to shine, all the while subverting
specific tropes of the genre with respect to minority characters. His
lead, the amazing Jada Pinkett has a natural approach to the material, rising
above the usual "ordinary into extraordinary" cliché'. Her
chemistry with William Sadler's Breaker is rushed, but evocative of the human
undercurrent that runs throughout. While there is humor and violence
everywhere, it's the blue collar, normality (akin to Alien) that is
relatable and thus endearing.
The remainder of the cast is filled with legendary character performers. The amazing CCH Pounder, Thomas Hayden Church, and icon Dick Miller all lend to the vibrance, but it is Billy Zane's inhuman Collector that steals the show. Demonic pacts are an overdone affair, but Zane’s handling of the material is so perfect, it rises above the mediocrity of the villain's modus operandi. This is a theme that recurs in each act. For a film that is clearly a lower budget, almost straight to cable affair, its resilience and relevance are a testament to its cast and crew's talent. Rick Bota's neon infused cinematography is the most potent attribute. While there is light filled scenes of comic abandon, there are horrific visions of the apocalypse strewn throughout that could be cut from canvases. The interior of the hotel (a converted church) is cold, almost maze like, a prison of lost dreams and surrender at the edge of nowhere.
Now available for (cheap) digital rental or on an outstanding Shout Factory Blu Ray edition, Demon Knight is an exceptional horror comedy that deserves more recognition for its contributions to the genre. Inventive creatures and gruesome brutality meld with an unusually well shot picture to creature a hilarious, and surprisingly poignant story about the end of all light, and those who fight against it.
--Kyle
Jonathan