Family

So I have to say that director John Landis redeemed himself with "Family" - his second offering to the Masters of Horror series in the mid '00s.  His previous, "Deer Woman" was just plain silly.  Lazily written (by son Max) and directed.  This time, the script, by Brent Hanley, is far more interesting.  A story of psychosis and loneliness that could be metaphoric for the fall of the nuclear family.  Hanley and Landis cram enough in an hour's to merit some long considerations about that subject.  But does it succeed as a horror?

Yes.  And thank you Mr. Landis for getting some of your game back.  This is not a return to his days of yore, but was his best work in several years.  Within the modest confines of this sort of television, it is pretty good.  Clever, creepy, funny.  Like Landis' AN AMERICAN WEREWOLF IN LONDON and INNOCENT BLOOD.  Or at least in spirit.  In addition to the expected gore, Landis provides an appropriately uncomfortable air to the proceedings, and a building-to-the-climax that is genuinely suspenseful.

The story: Harold (George Wendt) is a seemingly kindly and normal bachelor who is actually a serial killer whose "family" are reconstructions of his victims' skeletons dressed in everyday clothes.  He has a mother, father, wife, and daughter.  He imagines they are living, speaking flesh and blood beings, and has conversations with them.  Are you getting a PSYCHO vibe? A nice nod to that one, John.

One day Harold notices a new couple has moved across the street.   David (Matt Keeslar) is a doctor and his wife Celia (Meredith Monroe) is a part-time investigative reporter.  They become friendly and have each other over for dinner.  Meanwhile, Harold continues to scout for new family members, including a memorable sequence where he trolls a middle school, imaging his potential victims talking to him.  Will David and Celia be next?

You might see the final twist coming early; there are numerous clues.  But it's no less effective when it arrives.  The ending is beautifully done.

Wendt is perfect in this role. His subtlety really suits this material.  It's as if his Norm character from Cheers took a rather grisly detour later in life.

Harold's fondness of gospel music, with lyrics that of course are ironic to the story, feels like Landis mischief, and is a bit contrived.  At times his direction seems static but most often he acquits himself well, especially the "family" conversation scenes.  And that finale.