In this collaboration with Stephen King, director George Romero assembles a distinguished cast and pays vividly hued homage to the E.C. horror comics of the 1950s. (This film appeared years before the TALES FROM THE CRYPT series.) Five creepy tales are strung together by a framing story involving a young boy being punished by his father for reading the gruesome, titular comic book. “Father’s Day” tells the tale of a family patriarch exacting beyond-the-grave revenge on the daughter who murdered him. In “The Lonesome Death of Jordy Verrill,” a Maine hayseed (King himself in a ridiculously over-the-top performance) is overtaken by a meteor-based plant growth. A cuckolded husband exacts watery revenge on his cheating wife and her lover in “Something to Tide You Over.” A hairy beast in a box is used for nefarious purposes at a university in “The Crate.” Finally, in “They’re Creeping Up on You,” a wealthy, arrogant New Yorker with a fear of germs has a disturbing run-in with cockroaches during a blackout.
While the stories are a bit brief, the style is appropriate for the anthology format. Romero’s use of garish colors to mimic the ink in comic books is visually appealing, preventing the gore on display from being too off-putting. Featuring early appearances by actors such as Ed Harris and Ted Danson, CREEPSHOW is eerie, engaging entertainment. (Source)
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Abner Meecham (Hal Holbrook), an aging Tennessee farmer discarded to a nursing facility by his lawyer son, flees the old folks home and catches a ride back to his country farm to live out his days in peace. Upon his return, he discovers that his son (Walton Goggins) has leased the farm to an old enemy and his family. Not one to suffer fools or go down easy, Abner moves into the old tenant shack on the property and declares that he will not leave until the farm is returned to his possession. But Lonzo Choat (Raymond McKinnon), the new tenant, has no intention to move out or give in to the demands of the old man. This sets up a ruthless grudge match between Abner and Choat, each man right in his own eyes, each too stubborn to give an inch. Angered by the betrayal of his son and haunted by recurring dreams of his long-dead wife (Dixie Carter), Abner sets about his own path toward reclaiming his life. Lines are drawn, threats are made, and the simmering tension under the Southern sun erupts, inevitably, into savagery. (