With British portmanteau horror films down and out, the Americans somehow kept going, producing average stuff like Cat’s Eye (1985) and the EC Comics-inspired Creepshow (1982). This entry, however, is indicative of the sorry state of disrepair things had fallen into. It goes back to the genre’s cobbled-together origins, in that it’s little more than an excuse to release various remnants of aborted or left-on-the-shelf projects (including a story about a secret society who willingly wire themselves up to a killer computer) linked by a white-suited God and Brylcreemed Satan discussing various soul-selling cases in a train carriage as a Kids From Fame-style rock band rehearse in the next compartment.
