Michael Langdon begins interrogating the survivors at the outpost. A familiar face(/mask) from Season 1 returns.
FX’s American Horror Story
Season 1, Episode 11: “Birth”
Directed by Alfonso Gomez-Rejon
Written by Tim Minear
* For a review of the previous episode, “Smoldering Children” – click here
* For a review of the next episode, “Afterbirth” – click here
The very start of this episode shows us more of the relationship between Tate (Evan Peters) and Nora Montgomery (Lily Rabe). While a young Tate, very little, runs around Murder House while his mother leaves him on his own, he comes across the old child of the Montgomerys, lost and filthy and creepy in the basement. Nora shows up and tells Tate about how all he needs to do if the ghosts scare him is close his eyes, then tell them to go away. This sets up not just their relationship, which further compounds after Tate becomes a ghost himself in the house, it also goes deeper in this episode. Later, we’ll see where this comes into play even more.
Now that Violet (Taissa Farmiga) is completely aware of her living dead situation, visually we’re seeing how it affects both her and her father Ben (Dylan McDermott). He tries taking her to go and see Vivien (Connie Britton), as well as bring her home finally, but naturally Violet cannot make it off the property. When Ben pulls out of the driveway, we pan around to Violet up in her window, talking with Tate. She’s slowly accepting the situation, however, that does not make it any better for her.
Moreover, Chad (Zachary Quinto) and Patrick (Teddy Sears) are also planning for the babies. They’re hilarious together, painting the room and the cribs and the dresser, et cetera. Great scene as Tate confronts them saying they ought not mess with Violet’s mother; I thought the way Chad gets in his face and says “What are you gonna do – murder me?” was darkly hilarious yet also just bad ass at the same time. Well written scene. I always enjoy how American Horror Story as a series overall both includes and confronts gay issues. This scene and the whole subplot of Chad/Patrick in Murder House is one small example of how well the series uses gay characters. And why not? Too many people get hung up on the fact they’re gay, instead of simply the fact they’re a human, they’re a person, a character. As long as they’re written well and enjoyable, who cares if the character is gay, straight, transgender, or whatever? I’m glad the writers have the ability to write the characters of Chad and Patrick well enough, they’re a great addition to the whole mix of ghosts traipsing around Murder House.
Also, their addition ups the ante even more, as it seems each and every ghost in the house has their own plan in regards to Vivien Harmon’s babies. It’s almost like an old western where a bunch of outlaws all end up in the same place, each angling to their own ends. Very cool episode in this sense because we get a good look at all that, out in the open.
Billie Dean Howard (Sarah Paulson) shows up to help Constance and Violent. I like how Billie is truly psychic, so she can tell Violet is dead. Neat little moment between them while they connect telekinetically.
My favourite part is a brief little bit where Billie tells Constance and Violet all about the supposed story behind Roanoke – the Lost Colony in the 16th century whose citizens all up and left, seemingly. Only the word ‘croatoan’ was left carved in a tree. Of course, Billie’s story is a fabrication, using the idea of spirits lingering to explain how they might purge the spirits o the house; particularly, Constance wants to get “the gays” out.
This all plays more into how the ghosts are all vying for the Harmon babies, each with their own misguided and mental plan to sort of start over and integrate the newborns into the ghostly, haunting family of Murder House.
Vivien’s doctor at the psychiatric hospital advises her and Ben she might need an emergency C-section. This is due to the fact one of the twins seems to be growing at an abnormally fast rate, while the other is growing weaker; the ‘alpha’ is draining all the nutrients, leaving the second to essentially wither away. And we all know what’s going on there, right? That little demon baby is sucking up everything useful, hoping to spring from the womb and deploy its evil.
Once Ben gets back to the house, Violet unfortunately has to make it painfully clear for her father in order for him to accept that she is dead. All the same, Ben doesn’t believe her. Everything comes down at once – right as she’s about to make him understand, Vivien’s water breaks and the birth is upon us.
I think this might be one of my favourite sequences in the entire first season of American Horror Story, maybe even in the series as a whole. Reason being is that it’s intensely chaotic, there are a hundred things happening all at once. We even get the original twins from the Pilot, who help Murder House by smashing up the Harmon vehicle, puncturing its tires and beating it to pieces. Then ole Charles Montgomery (Matt Ross) shows up, the dead 1968 nurses stab holes and all at his side to assist in the birth; they’re all present. It’s one of the most surreal group of scenes out of the season, and that is saying something.
The way it’s shot, half blurry bits as Vivien screams and prepares to give birth to her new twins, it is dark and weird, as well as absolutely beautiful. There is very sombre-like chamber music playing in the background, we get flashbacks to Vivien giving birth to Violet – a much happier time for Ben and Viv – and the whole aesthetic here is out of this world! The dark, candle lit birth is so weird. Shots here remind me of Rosemary’s Baby at times, when the titular character was experiencing those extremely strange dream-like moments (but they were no dreams); this is even more fun because I find there are other moments in Season 1 with Vivien which are definitely an homage to Roman Polanski’s classic psychological horror.
What I’m thrilled so much by is how Violet tries to use the whole Roanoke spell, courtesy of psychic Billie Dean Howard, and it fails hilariously on Chad – that scene was killer. Quinto is full of charisma. The thing I enjoy about that part so much is how Quinto hammers it home that basically there’s no getting rid of the ghosts; they’re doomed for eternity. Chad is stuck with Patrick, a man who doesn’t truly love him, for the rest of time, and so on, and so on. They each have their own burden to bear eternally, there’s no end to it. The pain simply goes on endlessly and there will be no rest. With all the dark comedy on Quinto’s end during that scene, it is actually a traumatic conversation in the end. Violet faces down the fact she’ll never find any sort of peace, ever again. The afterlife is merely an abyss, there’s no closure.
Then poor Vivien – after the savage birth of one stillborn and the child of Rubber Man Tate Langdon a.k.a the offspring of a human and a ghost – bleeds out and passes on to the other side. This moment falls with such heavy impact. Everything from the way it’s shot, to the sound design and dialogue. All those elements come together to make the finale ridiculously spooky. The best shot is how when Vivien finally dies, the camera reveals Ben Harmon alone – his wife pale and dead and the bed covered in blood between her legs and everywhere else – and now all the ghosts are gone. It’s an eerie set of shots.
Furthermore, Violet has been told the truth about her love – Tate the rubber rapist. More and more, she discovers what lies behind Tate. She thought he was merely “attracted to the darkness“, but Violet tells him: “You are the darkness.”
While Tate clearly does love her, he is still an awful and terrible ghost, one who has caused havoc in the afterlife as he so horrifically acted in flesh and blood. So I find the way he and Violet end things here both sad and highly interesting. Finally, she screams at Tate to go away, which we already know is the way to dispatch the ghosts who you don’t want to bother you.
The best part is another pan around reveal – once Violet screams Tate into the mist, the camera turns and sees Vivien caressing her daughter’s head, arm around her shoulder. They’re now together, perhaps even happier in a tragic ghostly sense than ever before.
Massively impressive penultimate episode for the first season. The next episode and finale is fittingly titled “Afterbirth” and is directed by Bradley Buecker, a Ryan Murphy regular on Glee, American Horror Story, and also a producer on Nip/Tuck.
Excited to do a review for the finale, as well as to get on into the Season 2 reviews. Stay tuned for lots more horror and creepy stuff!
FX’s American Horror Story
Season 1, Episode 8: “Rubber Man”
Directed by Miguel Arteta (Youth in Revolt, Chuck & Buck)
Written by Ryan Murphy
* For a review of the next episode, “Spooky Little Girl” – click here
* For a review of the previous episode, “Open House” – click here
In the opening of this scene, Nora Montgomery (Lily Rabe) bemoans the state of her modern house. Trapped in ghostland, she does not realize yet she is dead either, like Tate (Evan Peters). In the darkness behind Nora, as she weeps for her baby and wants another, Tate comforts her; he’ll help get her a child.
Then he goes out to the trash, he finds the Rubber Man suit. This is a flashback to the Pilot, when Rubber Man had sex with Vivien Harmon (Connie Britton); she, of course, thought that was husband Ben (Dylan McDermott) at the time. Now we’ve confirmed for sure that Tate is the one who did the deed. Chilling and highly unsettling, I love and hate it all at once.
Vivien is still disturbed by the events at the end of last episode, “Open House”, when Violet (Taissa Farmiga) showed her an old picture of the house in the 1920s, one featuring Nora Montgomery. Naturally, Marcy (Christine Estabrook) thinks Vivien is nuts, but Moira (Frances Conroy) offers comfort; no surprise there.
One aspect I loved in “Rubber Man” is how Chad (Zachary Quinto) and Patrick (Teddy Sears) come back into the picture. Crosscut with Vivien complaining she feels as if she’s going crazy, we head back to Chad who is upset, worried about him and his better half. It appears Patrick is stepping out on the internet; he’s secretly into S&M subculture. Chad does all he can to try and please his man, but Patrick seems to not care at all. Sadly, the Rubber Man suit Chad buys for the two of them to enjoy later ends up as part of their death. In this episode, the full view of what happened to Chad and Patrick – only partly shown previously in “Halloween: Part I” – is given a nasty, brutish treatment here.
Even more interesting is how their deaths play into the overall story of the house. Turns out, the fact Patrick seemed to have lost interest in having a child/children with his partner Chad became the reason for their savage murders. The house/Nora needs a baby, so Rubber Man – a.k.a Tate Langdon – will go to any lengths required in order to secure one. Even if that means murdering, raping, torturing, terrifying until the seed is planted.
More of Hayden (Kate Mara) now, as all the ghosts are in cohabitation. She comes across Nora weeping, shedding some light on the newly discovered situation of Mrs. Montgomery for her. Sadly, Nora still does not get it yet. Slowly she is beginning to understand what’s going on. I feel really bad for Hayden; while she was banging a married man, she never deserved anything which happened to her, and definitely not being trapped for eternity in Murder House. She and Poe bond in a brief scene, rolling the ball back and forth – neither of them asked to be stuck there on that property, each murdered brutally under false pretence.
What I loved is how Hayden has afterlife sex with Constance’s (Jessica Lange) dead husband Hugo (Eric Close) – she takes out the anger inside on him, banging then stabbing him to death, only for him to keep on after-lifting. It’s a naughty cycle, I just thought that was an excellently twisted scene.
Furthermore, Nora is being led to the river by Hayden who believes they ought to take Vivien’s twins for themselves. Also, Hayden drops the hint for us in the audience that poor Vivien might soon be locked up in an asylum. Thus begins the true terrorising of Mrs. Harmon.
There’s so much great haunted house stuff in American Horror Story. With the ghosts actively doing poltergeist-like stuff, we get to see both sides: the family living in horror versus the ghosts trying to clue up their unfinished business/vendettas. That’s something we’re not usually treated to, even in film. More often than not, almost always, we’re seeing a family being tortured by the demons/ghosts/presences in a haunted house. Here, we get to see the motivations of the ghosts themselves and what is driving them, as well as the fact we’re watching everything happening in reality to the families and people drawn to the house. I think that’s one of the greatest things about this first season. Moreover, I think it was the best and most natural place for the series to start, as the haunted house sub-genre of horror is one almost everyone knows – even non-horror fans probably enjoy a good haunted house movie now and then. Each season has a great anthology premise, but this is most definitely the greatest starting point Ryan Murphy and Brad Falchuk could’ve decided on.
More concerning Violet falls out of the plot into our laps. It turns out Violet has not been to school in two weeks. Strange. Even while the family is in shambles, you’d think someone would have realized something was wrong before now. Yet everything else happening around Ben and Vivien, all the weird and unexplained and eerie events, it detracts from Violet and her issues. More every episode, we come to see there’s something else happening to Violet that her parents cannot yet see or understand.
My favourite part of “Rubber Man”, though there is a ton, is the scene between Moira (Frances Conry) and Vivien. Moira recounts the basic plot of “The Yellow Wallpaper” by Charlotte Perkins Gilman, which goes along fittingly well with the events happening to Vivien. Especially going forward through the remainder of the episode, the woman in “The Yellow Wallpaper” comes as an allegory for the story of Vivien – however, in Murder House, Ben Harmon is not doing anything purposefully trying to damage his wife, but instead the house itself is making Ben and everyone else around Vivien believe she has gone completely mad.
Moira pushes her towards this, warning Vivien she must leave or else something bad might happen. This is when we start to see the house really working on Vivien, as it only works against her.
In the car with her daughter, ready to leave, Vivien sees the ghosts of the serial killer fans who broke into the house in “Home Invasion“. She runs back in, believing them to be real, and of course this further breaks down things between Vivien and Ben. Plus it makes her look absolutely nuts, even worse when Violet can’t confirm there was anything actually there.
The end of the episode is highly suspenseful, full of tension, as Vivien – believing an intruder, perhaps the sneaky undead Hayden – uses a gun she stole from real estate agent Marcy to shoot Ben. Of course, she did think it was someone else, but still. Now that gives him more ammunition to put her in a hospital, fearing her mental state is deteriorating. Which it is, yes, just not in the way anyone thinks. It’s exactly what the house has wanted. All in order to get those babies growing inside Vivien. Believing herself to be attacked by Rubber Man Tate Langdon again, with Hayden onlooking and taunting, Ben and Luke (Morris Chestnut) rush in to find Vivien rolling on the floor by herself. Even to Luke now, it’s clear something is not right.
The house is driving everyone, in their own way, off the deep end and into utter madness. It’s tragic and heartbreaking all at once and you feel for characters while also hating some of them; a big mix of hate, fear, love, and sexuality, this Season 1.
Next episode is titled “Spooky Little Girl” and is directed by John Scott (Nip/Tuck). Can’t wait to review that one, as well.
Stay tuned yet again!
FX’s American Horror Story
Season 1, Episode 4: “Halloween – Part 1”
Directed by David Semel (Hannibal, The Strain)
Written by James Wong (Final Destination, The X-Files, Millenium)
* For a review of the previous episode, “Murder House” – click here
* For a review of the next episode, “Halloween: Part II” – click hereAnother flashback now, we open “Halloween: Part 1” with the (partial) deaths of the gay couple who previously lived in the Harmon’s latest home.
Chad (Zachary Quinto) and Patrick (Teddy Sears) are getting ready for Halloween. At least, Chad is anyways. Patrick is heading out to the gym, or he says so – turns out Chad knows that he’s unfaithful. They have an argument, but it’s clear they’re in love. The spark is simply a little light on their love life, apparently. When Patrick heads out, Chad is getting ready for more decorations when the Rubber Man shows up – y’know, the one with whom Vivien (Connie Britton) had sex at the end of Episode 1 – and proceeds to drown him in the bob-for-apples tub. Patrick shows up, an intense stare-off ensues, then the credits roll. Highly creepy. I loved this opening!
The house is not selling, which obviously makes Vivien nervous. She keeps hounding her real estate agent, who in turn suggests they bring in a fluffer – did they intentionally reappropriate this word, or is it to show how little this woman knows about sex culture? I don’t know, either way it was hilarious.
Of course, this all plays into what will happen later in the episode. Look out.
Then Ben Harmon (Dylan McDermott) keeps finding himself stuck with Larry Harvey (Denis O’Hare). The melted man is demanding a little pay cheque for handling the body and disposal of Hayden (Kate Mara) whom he killed in the finale of the previous episode. I can all but literally feel the noose tightening, slowly with each episode, around Ben’s neck. On one hand I feel slightly bad. On the other, he only keeps on compounding his infidelity with stupid move after stupid move. All that being said, the house is manipulating every last one of them, the entire family, in the most cruel of ways.
More this episode between nasty, resenting mama Constance (Jessica Lange) and her sweet but troubled daughter Addie (Jamie Brewer). You can see how insecure Constance is in general, as she somehow believes Addie is going to steal her young, hot boyfriend. It’s sad really, however, I think it’s wonderful writing. We’re seeing that sad side of L.A through this first season. While there are so many typical failed actress angles in film and television, I find Constance and Addie truly moving, while at the same time finding Constance’s behaviour towards her disabled daughter awful and deplorable. It’s simply excellently written work.
Chad and Patrick show up once more. Only Chad is somehow alive, as last we left him his dead eyes were floating in the tub of water and apples.
What I enjoy is how the gay couple’s issues with infidelity mirror those of the Harmons. Fascinatingly morbid scenes between them all. Not only that, Patrick comes onto Ben while they’re alone. Of course Ben turns it down, he’s not gay. All the same there’s this unsettling moment where Patrick tells him “we’re alike” in the sense of their infidelities, and it rings true.
Moreover, Chad seems to play the devil’s advocate by dropping very subtle suggestions for Vivien in regards to her husband’s cheating.
Jessica Lange and Jamie Brewer work so well together, it is unreal. What I find intriguing is how Brewer, a girl with down syndrome herself, plays a young woman just like herself. For her to have to act out some of those scenes between Addie and Constance, it must’ve been difficult. So to see these two actors working in intense scenes off one another, the subject matter tough and unflinching, it’s a testament to their abilities, as well as the writers who are tackling these situations head-on.
More bits of 1922, as the subplot of Charles and Nora Montgomery (Matt Ross & Lily Rabe) unfolds further into the darkness. Their baby, stolen by someone obviously hating the Montgomerys for their work in abortions, turns up cut to pieces; stored in jars much like Montgomery kept fetuses and other macabre things. To Nora’s surprise, her husband tries to Frankenstein their child back together with bits of his tiny, broken body and the amputated pieces of animals. It is real horrifying and nasty stuff.
Vivien has found out about Ben being in contact once again with Hayden. The tension further boils up between them and Ben scrambles to try and fix things. While he knows the truth – Hayden is dead and gone – Vivien of course does not and worries more will happen. Somehow, Ben is almost able to convince her, but then Hayden’s phone starts ringing Ben on his cell. Somehow. The look on Ben’s face says it all; incredible work.
More horror movie score working its way into the series – a bit of music from Wojciech Kilar from Bram Stoker’s Dracula directed by Francis Ford Coppola. That movie is one I absolute love, so to hear a piece of music from it used here again excites me. Glad to see Murphy & Co. know the quality stuff, despite what anyone says about that film. It was an incredible movie with awesome music and an overall well-crafted aesthetic, so I’m glad it’s receiving homage in some form here.
The most tragic thing happens in “Halloween: Part 1”, as Addie – pretty girl mask on and all – runs into the road after a bunch of young girls she wants to trick-or-treat alongside. She’s promptly smashed by a car, something I never once expected. I didn’t realize when I first saw this season, as it originally aired, that Addie made her way out so quickly. On second viewing, I’m amazed that it’s only the fourth episode and already Addie dies. Crazy how you sometimes forget things like that when watching a television show. Just goes to show how much is going on in one season of American Horror Story, that such an important, sorrowful event happened early on and I thought it was much later.
BEST SCENE: a doctor at the hospital faints after viewing Vivien’s sonogram, obviously seeing something which affected her. It’s quick, effective, and spooked me. Nice horror movie moment right there.The finale of “Halloween: Part 1” is incredibly wild, weird, and creepy. The house is surrounded by people, both past and present – and otherwise – as even a living dead Hayden shows back up at the door. All the while, Larry Harvey is looking for his money, screaming, raving out on the porch, as Violet is left to fend for herself. Then there’s also Rubber Man, standing in the background silent as ever, right behind Violet. There’s seemingly no escape; for any of them.
The People Under the Stairs. 1991. Directed & Written by Wes Craven.
Starring Brandon Adams, Everett McGill, Wendy Robie, A.J Langer, and Ving Rhames. Universal Pictures. Rated R. 102 minutes.
★1/2 (Blu ray release)
I really have a thing for Wes Craven. Do you think he knows?
He’s written and directed some incredibly disturbing, unsettling, and wild horror films. Let’s count the great ones, shall we? The Last House on the Left, The Hills Have Eyes, Swamp Thing, A Nightmare on Elm Street, The Hills Have Eyes Part II (maybe I’ll draw some ire by planting that one in here, but I love it, and think it’s unfairly maligned by a lot of critics and horror fans), The Serpent and the Rainbow (directing credit only), Wes Craven’s New Nightmare, Scream (directing again only).
This is not to mention the bunch of other fun horror films he’s had a had in producing, such as Feast, Wishmaster, and the fantastic remake of his own The Hills Have Eyes. I mean, for A Nightmare on Elm Street alone Craven gets a spot on the top horror masters of all time. Brilliance. But there are a few of his films (such as the aforementioned sequel to his The Hills Have Eyes) which don’t get the credit they deserve.
Cue: The People Under the Stairs.
At first the film could appear to be a crime thriller about some robbers, but (aside from having Craven’s name on it) you can quickly tell it isn’t going to be the same old story. The film starts off with “Fool” Williams living in a ghetto in L.A. His family is soon to be evicted. Luckily, or realistically unfortunately, for Fool, he knows Leroy who is a lifetime criminal. They quickly decide to rob The Robesons, who lovingly call themselves Mommy & Daddy (played fabulously by former onscreen husband & wife in David Lynch’s Twin Peaks, Wendy Robie and Everett McGill), who live in a big, old house with only their daughter Alice. Once they get inside the house, hoping to find all the supposed riches the Robesons have hidden away, they discover, to their horrible surprise, it isn’t any treasure Mommy & Daddy have been hiding; the secrets in the house are far worse.
I really love the trailers for The People Under the Stairs because it has such a creepy, dreadful feeling. It starts with the ominous “in every neighbourhood… there is a house that even the adults talk about“, or something similar. Just superbly disturbing. Once you get into the film, past the bits of ham, there are some wild bits that really creeped me out. In particular, Everett McGill puts on a suit at one point that turned me away, by pure fright, from leather – long before I ever enjoyed the devilishly fun first season of American Horror Story, and the Rubber Man.
One thing I love is how hard Craven attacks the Reagan era. Particularly, you can see how he is really skewed in the Mommy and Daddy naming of the two crazy people who own the house. It’s known that Ronald often called his wife Nancy Reagan “Mommy”. While Nancy called the Commander-in-chief “Ronnie”, you can still see, along with the rest of the film skewing his era of presidency, how the names Mommy and Daddy were certainly meant to really poke at the political & social commentary of The People Under the Stairs. Even at one point when Fool is looking around the house, he comes across a television set, which is clearly blaring graphic news reports of armed forces conflict (most likely they’re videos from the Gulf War which ended the same year this film was released). I mean, Daddy even stalks Fool and Leroy around the house, eventually shooting Lero, using a high-powered pistol with a red dot sight on it. The artillery Daddy is packing in that house is beyond simple home protection. I think there’s a little message about guns, or at least the military, under Reagan floating around here.
It all lines up, with the plot itself of course, to be very clear Craven doesn’t only intend this as a sometimes campy other times disturbing little horror flick. There’s more than meets the eye.
The acting here is generally pretty good. Rhames is decent in his small part. Really it’s McGill and Robie who shine here. They’re perfect for the role. Of course, they were also perfect on Twin Peaks, so I didn’t doubt they’d do a great job here. Everyone else fills out the cast just fine for the most part.
The People Under the Stairs is mainly all about the plot and story. I liked where it all went. It was disturbing and creepy. Plus, there are some fun and camp-ish moments that really fit well with the overall film. I really do think this movie works as a social metaphor. I’ve seen a few good theories. One in particular talked about how there was, especially around that time in the late 80’s and going into the 90’s, a big divide between those being oppressed and those who were aware of the oppression. Maybe even not so much the times, it’s something that always happens. Generally, until a situation completely boils over (such as it would in 1991 after the Gulf War ended and then Rodney was beaten a month later, one of the many, continuing brutalities committed by police against black men), there are pockets of society unaware of how serious a particular group is being oppressed, and often times eradicated. Here, we see a couple black people break into a home only to discover there are white people literally trapped in the walls. The divide between these two groups being held down are Mommy and Daddy, perfectly representative of Ronald Reagan and his administration in the White House.
I don’t know – maybe it’s nonsense. But I happen to agree with the person who was giving out the theory. Others seem to agree. I don’t mean it’s a perfectly and amazingly profound film, it’s still a weird and wild horror, but there is definitely something else behind it. Craven intended The People Under the Stairs to speak both to horror fans, as well as those looking for a bit of social commentary in their movie-going experience.
As a film, I’d absolutely have no problem saying this is worth 4 out of 5 stars. I think Craven has taken a few missteps in his career, but this is not one of them. Some don’t particularly put this at the top of his filmography. Me, however, I believe it’s one of the better written horrors Craven has done simply because there is bit more meat to it; it isn’t all blood and guts and scares. There is a little dark comedy, some hammy acting, and disturbing moments, all wrapped into one package. I dig it.
The Blu ray is not great. Aside from the picture, there is nothing worth talking about. Literally nothing. You can put on subtitles, pause the film, or look through its chapters. Other than that? Don’t count on wiling away the hours on special features. There are none at all. Too bad. I wouldn’t have minded a bit of behind-the-scenes stuff, a featurette or two. Nothing here.
It’s still worth it to own this fun horror on Blu ray. The picture quality is fabulous. Makes a great 1990’s horror classic look pristine. If you haven’t yet experienced The People Under the Stairs do yourself a favour and watch it soon. Especially if you’re a fan of Craven; this one deserves more attention and less ridicule. I think it’s a solid horror, a little different from most. There are even some pretty gory bits just before the hour mark hits. This definitely stands out among a lot of shitty 1990’s horror.