Today some may no longer even remember the existence of ‘Tales from the Crypt’, a great television anthology broadcast between 1989 and 1996 that adapted different horror stories published in comic form by EC during the 50s. moment and came to give rise to two films. Today we have to talk to you about the first of them, because Netflix has given us a surprise with the arrival in its catalog of ‘Tales from the Crypt: Devil’s Knight’.
A very stimulating cocktail
Released in 1995 without much success, the year by which the popularity of ‘Tales from the Crypt’ had already begun to wane, ‘Knight of the Devil’ tells the story of how a human-like demon chases a renegade to seize an artifact supernatural in possession of the latter. To protect himself, the renegade takes refuge in a building that was formerly a church, but Your problems will not end there.
The first drawback that perhaps many put to ‘Knight of the Devil’ is that it could be seen in a kind of extended episode of the television series. It cannot be denied that there is something of that, but the film wonderfully encapsulates its virtues and beyond the fact that it may cost a little more than expected to start, what we find here is a trip that It mixes horror and fun quite well. Also benefited by a stimulating design of the different creatures that appear throughout its tight footage and an effective use of gore.
The good work of the cast also works in its favor -beware of the presence of a very young Jada Pinkett– especially a playful billy zane several years before becoming the great villain of ‘Titanic’. The film could take itself too seriously or fall into sheer nonsense if her character here had failed, but when it comes down to it, she’s among the best in the show for giving her that horny touch that works so well here.
For the rest, it is always nice to see creepy, the macabre presenter of the series who here does not disappoint either in his brief appearances both at the beginning and at the end of ‘Knight of the Devil’. All this helps make it always a good idea to recover a film that, at least in Spain, has been unfairly forgotten for several years.
In Espinof: