The Viewing

A billionaire Peter Weller invites four semi-famous guests over to his newly constructed mansion, all lured on the promise he'll show them the most 70's house ever made by mankind.

In this promise he delivers. However, greater horror awaits...

This episode suffers from the opposite problem of the other six up until now, which is that it's got more story than you should try to fit in an hour. This could have gone three hours.

What I really like about it, is that it invokes a somewhat Tarantino-esque feel, and one could easily imagine him having gone in this direction after Kill Bill (Robocop really channels David Carradine throughout this by the way). Watching the story shortly after they arrive at the house, one sort of wishes Tarantino could do a once over of the dialogue, or just you wish you could do a once over of the dialogue, it just needs a little sprucing up to get there.

Unfortunately the ending just doesn't match up. I was expecting a deeper story, I was expecting to see more of that house! It basically stops when they leave their initial couch party, you're practically watching the credits from there on out, nothing that happens really much matters because it's just a whatever, rushed horror story.

But it's still a good effort, I'm not going to fault somebody for trying to do horror Tarantino and managing to do 'pretty good.' That's pretty good!

This had so much potential but then I feel like it went completely off the track and took a hard turn for the worst.

Even though it's a slow burn I was interested to see why these people were here, what reasons or skills did they possess to be chosen? The vibe of the beginning is very surreal, beautiful cinematography and intriguing story... Why does Hector not get to discuss his story about the gun? What skills does this guy want to get from his guests? How does he have the power to grant them whatever they want?

But then The hard left turn happens. It's like a completely different story. Very typical monster movie, with a confusing ending that makes zero sense. Why would any of this happen the way it does? No one can tell you because it's as if they had one person write the beginning and another the ending without letting either of them see what's being written. Then they just smash it together and call it a day. Such a waste of potential plot.

Guys, I rarely review anything in IMDB, this was good enough for me to do that.

We all agree The Autopsy is the best, yeah okay, but this was 2nd for me. I was all in for the 70s vibes, the lo-fi synthwave soundtrack, the golden everything, so much so that I forgot it was a horror show (in the best way of sucking you in with so much mysterious intrigue), then I was reminded it was in a very satisfying way, as I am a huge fan of horror that depicts the punishment that human curiosity and adoration can bring.

I don't know, I was just on the hook from the beginning. Just try to have fun guys, alright?

Lionel Lassiter, a mysterious über-rich recluse (Peter Weller) invites a group of over-achievers to his other-worldly mansion to expand their minds before viewing an inexplicable object. The idea of inviting a disparate group of experts from the arts, para-normality, or theoretical physics to examine an object that is completely beyond the ability of the physical sciences to explain is interesting but this showy yet tedious story doesn't do much with the concept; instead we spend a lot of time watching disagreeable people getting stoned before the story toggles over to a derivative horror climax coupled with an pointlessly lengthy car ride. Set design and cinematography are imaginative and well-executed but largely wasted on an undeveloped story that seems to rely on mood and pretentious dialogue to fill three-quarters of the running time.

I 'm so into P. Cosmatos mythology and aesthetic, and so pleased for G.de Torro choosed him for this episode. I think Autopsy and The Viewing elevated the entire project, and added the pure and simple "horror" matter which others episodes just don't, unfortunately. Welles act is solid and charming, his mature period seems ideal for arthouse/gringe films. There is no horror without funny moments and here they are some. The gore is totally nostalgic, reminds me classic 80s/90s style fx and everything sinking visually into a deep deep red color on the screen, something P. Cosmatos seems to like a lot. Well, me too. Music also was fine. Analog synths rules!