This is How Movies Should Be Made

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Close shines in drama with strong language, adult themes.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Mick Garris and Tobe Hooper were the weak links on Season One of "Masters of Horror". Garris's "Chocolate" was an ambitious episode and in many ways interesting but if fell flat due to incomprehensive storytelling, a snail's pace and a weak ending. Here he goes to a short story written by horror maestro Clive Barker and makes amends for the disappointing first season episode."Valerie on the Stairs" is an interesting story, somewhat creepy with a killer twist in the end. Garris performs well in the director's chair, elicits fine performances from his cast and ensured a fantastic look that's both atmospheric and moody. The setting here is brilliant and fits incredibly well to a horror film.Garris also doesn't shy away from some gory set pieces as well and they're very well done. "Valerie on the Stairs" is a solid entry in the relatively uneven second season of this very ambitious project that is "Masters of Horror". Congrats to Mick.

This isn't well-regarded on the IMDb, but I personally liked it well enough. While the plot (based, as were the recently-viewed "Candyman" films, on a story by Clive Barker) features several well-worn elements, the mix proves intriguing and reasonably compelling: failed author, eccentric household, ghostly damsel-in-distress, literary characters coming to life, etc.Even if there were only two noted performers – the ever-reliable (and quirky) Christopher Lloyd and the Candyman himself, Tony Todd (once again, playing a figure of mystery and menace, a rather effectively made-up demon) – the rest of the cast does well enough by their roles as well, especially the hero and heroine (the entrancing Clare Grant) and the two older women in the boarding-house.As was the case with the two previous "Masters Of Horror" episodes I've watched – both, incidentally, helmed by Dario Argento – this too confirms that TV has finally achieved maturity (with its graphic display of sexuality and violence, and the tackling of subjects previously considered taboo, in this case, a dash of lesbianism). In fact, not being into modern TV series at all, I'd only previously encountered such explicitness – where, however, it was mostly gratuitous and even off-putting – in ROME (2005)...

I have always considered Mick Garris one of our most undervalued genre directors. He has understood Stephen King's prose well enough to make excellent TV adaptations of "The Stand," "Desperation," and "The Shining" (cleaning up Stanley Kubrick's nauseatingly overpraised mess-terpiece); his most simultaneously renowned and scorned creation may be the "Masters of Horror" anthology series, cited as maddeningly uneven by some, and fulfilling to others. If you can't tell already, I was a fan of Garris's Season 1 entry (the much-derided 'Chocolate'), and am now an even bigger fan of 'Valerie on the Stairs,' a showcase of storytelling (about storytelling, no less) that truly earns the praise given to a 'master.' Working from a story treatment by Clive Barker, Garris tells the tale of Highberger House, a place seemingly dusted with antiquity, where struggling writers can stay rent-free until their work gets published. Rob Hanisey (Tyler Leitso) secures a room after the previous tenant commits suicide, and quickly forges a negative rapport with the other residents when he begins having visions of an ethereal beauty named Valerie (the smoldering Clare Grant), imprisoned by the appetites of The Beast (Tony Todd under a mountain of makeup and latex). The cast (also featuring Christopher Lloyd in a good supporting role) is excellent, and Garris foments fear through the use of imposing high- and low-angle shots, matched with frequently tight and confining framing. Most importantly, he really understands Barker's fascination with multiple layers of reality, other dimensions getting a foothold, and the power of sexual desire intertwined with human imagination. Garris also takes many opportunities to show off the surprising, cynical humor that has punctuated his previous films (Rob's initial meeting with the landlord, and a middle-aged Southern woman complaining of having her "pleasure interrupted" are two gems among many). But in the end, 'Valerie' is really about the art and craft of writing--in many ways, it is a clever salute to the form, something this Garris/Barker collaboration conveys beautifully. One of the best episodes of the series.7.5 out of 10

Rob Hadisey (Tyron Leitso) is an unsuccessful writer who moves into a hotel full of them. No rent--but once you get something published you're out (???). He finds out the previous tenant of his room committed suicide. Then he starts hearing knocks on his door and seeing a beautiful woman named Valerie (Clare Grant) pleading for his help. Can you see where this is going? Utterly predictable and boring entry in the "Masters of Horror" series. I knew what was going to happen every step of the way. It all leads up to a real silly ending.There is some nice production design (the hotel looks suitably creepy) and there is some good acting by Leitso, Grant, Jonathan Witton and Christopher Lloyd (chewing the scenery). Also nice to see Tony Todd again. Still, an atmospheric setting, a few nice gory murders and some good acting can't help a story that is so predictable. Another negative point is throwing in totally unnecessary nude scenes for Grant. They could have been done with her clothed. Very poor entry. Not recommended.