The anthology justifies Mick Garris’s passion for horror, though he ironically proves to be one of his project’s liabilities.
The episode’s emotional epicenter is Bobby Briggs, now white-haired and working as a deputy for the department.
It’s an anodyne tale of family-centered acceptance that’s neither comical when it wants to be nor touching when it strives for pathos.
The film's glass-spangled erection burns with an uncontrollable lust for spectacle.
Irwin Allen’s crowning achievement, and a shrine to all the bullshit behind Hollywood’s blockbuster franchises.