THE V WORD

For all its faults, the Masters of Horror series lent fresh perspective, enticingly macabre imagery, and subversive craftsmanship to the trite television arena. Enjoying the greater content and style freedom, creator Mick Garris and the talents he enlisted were free to cross taboos of taste rarely attempted before on the glass teat. If the budgetary restraints often showed, so did an impressive degree of storytelling savvy and production creativity. A surprising number of episodes merged surprisingly mature plots with themes both challenging and emotionally intensive, resulting in some of the best work in years from such macabre masters as John Carpenter, Stuart Gordon, and Tobe Hooper. Unfortunately, there were just as many duds as masterworks, with such episodes as Pick Me Up (season one) and both The Washingtonians and I Scream For Ice Scream (season two) emphasizing the poor execution of ideas ranging from the cliché to the ludicrous. Season two in particular displayed a disappointing decrease in originality and quality -- a surprise since the season began with such quality offerings as Pelts and The Black Cat. With The V Word we reach the end of the season. While neither as challenging or terrifying as the Gordon or Argento pieces, this urban re-take on the vampire archetype is an enjoyable urban nightmare, moody and scary if not always well balanced. Written by Mick Garris (Riding the Bullet) and directed by Earnest Dickerson (Demon Knight), this atmospheric entertainment embraces suspense and simplicity, emphasizing mood and gore with the old fashioned mentality of a campfire story.

The V Word recycles genre clichés without loosing identity or integrity, evoking characters that, if a bit shallow, are believable, and whose reactions to the fantastic dangers they encounter invite sympathy (if not empathy). Kerry and Justin, two teen-aged friends, battle their weekend boredom by visiting the mortuary where Kery's cousin works. Despite its obvious use as a convenient plot device, this action reflects the impulsiveness of youth, as does the character's banter and the foolish (if understandable) decisions that trap them in a funeral parlor where something is feasting on the inhabitants. A horrific game of cat-and-mouse ensues, with one of the friends left behind, the other stalked by the ghoul they encountered. Torn between lust and love, desire and devotion, Kerry must protect his family from a ghoul . . . and himself.

Dickerson directs with efficiency if not inspiration. Nothing new or unique is presented in terms of style, but part of the charm of the story and the way it is handled is in its delightful ability to evoke nostalgic, impulsive shudders. Dickerson re-creates the haunted house thrills of youth, evoking a solid sense of tension and paradoxical delight by the manner in which he emphasizes setting as well as character, assaults us with moody colors, and makes every shadow ripe with menace. What keeps this from being a complete triumph of pulp storytelling is the lax pace in the middle and, more damaging, an ending that is decidedly lackluster, diluting the crises that came before. Seeing Michael Ironsides as the molesting ex-teacher vampire is a kick, as his grim personality and deadpan sense of dark humor perfectly fits the merciless tendencies of the character. Thankfully, the legend of the vampire and business of bloodsucking is made messy. Nowhere in sight are the pretty-boy Goth posturing of the post Anne Rice age. These vampires are cruel and ENJOY their unrestrained freedom. They enjoy inflicting pain. The effects, likewise, are gruesome and achieved with enthusiasm. Creepy as only a well told folktale or superstition can be, The V Word is solid, craftsman-like entertainment that isn't portentous enough to claim that it is anything else.

The V Word is presented in an anamorphic 1.78.1 widescreen transfer. As with every other episode in the series, the transfer is solid, with colors crisp and bold. Night scenes are black without overshadowing detail. While some edge enhancement is noticeable, it isn't overly distracting. Audio is available in Dolby Digital 5.1 Surround Sound or Dolby Digital 2.0 Stereo, both in English. While the 2.0 option is fine, the 5.1 mix stress sounds effects, lending the horrors more intimacy.

Extras are as plentiful as ever, including a Commentary from director Dickerson and Garris. Both speak well together, obviously having fun in recounting the goals and challenges of filming this episode. Claiming that he tried to capture the look of Bava's Whip and the Body, Dickerson also discusses how he approached the undead. Garris analyzes how his script focused on family, and his attempts to challenge himself by focusing on terror without his usual emphasis on the erotic or sexual relationships.

Next up is Feeding Frenzy: The Making Of The V Word, a featurette exploring the production behind the scenes, including cast/crew interviews interspersed with footage of the crew toiling away. Michael Ironside also grants an interview, with some additional test footage of him in character make-up. While welcomed, this feature is a bit too self satisfied, with everyone quick to brag one another up. While here is nothing wrong with showing pride, something more substantial should be included. Bite Me: Mastering The Neck Wound is an improved segment, with the FX crew explaining some of the key effects, including the latex molds and application process. A Still Gallery, Trailers, and the usual PDF script complete the package.

Review by William Simmons