Based on a short story of the same name by author Michael Shea, the episode stars F. Photo: Ken Woroner/NetflixĪmong the very best of these is “The Autopsy,” the third curiosity in the collection. Hence: No thanks! It’s just what viewers will likely say when many of these episodes reach their climax. It is rarely terrifying, but it is often uncomfortable. While del Toro opted not to direct any of the installments (two, however, are based on his stories), nearly all share one of the things that has become a hallmark of del Toro’s work: a deep love and appreciation for a good horror monster and old-school ick.Ĭabinet of Curiosities features wonderfully gross, tangibly awful grotesquerie in most of its episodes: Cadavers are cut open, decay and rot on corpses is put together with the care brought to the finest French cuisine, and eldritch creatures contort and devour with regularity.
#Alfred keepingyouawake full
The episodes in Cabinet of Curiosities vary wildly in tone and feel - its first two episodes, for example, pivot from socially conscious occult horror to a goofy EC Comics-esque creepfest full of rats. All week long, Netflix has been rolling out the episodes two at a time, unspooling the eight-episode season across four nights of double features. Like with those classics, each episode is a different horror short film introduced by the host (del Toro himself) and crafted by different writers and directors. Guillermo del Toro’s Cabinet of Curiosities follows the old-school horror anthology format of The Twilight Zone or Alfred Hitchcock Presents. That doesn’t mean they’re a comfortable watch - in fact, the best thing about them is how they’re often built to warrant a hearty “No thanks!”
With that in mind, it’s worth saying up front: Netflix’s new horror anthology, Guillermo del Toro’s Cabinet of Curiosities, is eight episodes of horror short films interested in very different kinds of scares, but they’re all very human stories, and not terribly focused on keeping you awake all night.
Still, on a streaming queue, it’s not always clear how Terrifier might scare you differently than, say, Day of the Dead. It makes sense, I guess: The unknown is one of horror’s best tools, and telling viewers what’s coming may detract from the desired effect. One of the trickier aspects of getting into horror cinema is dealing with all the different kinds of horror available, and the fact that no one tells you what you’re in for.
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