The Damned Thing is
based on an old short-story by Ambrose Bierce. I've never read that
story, and aside from the obvious updates I have no idea how closely
this episode adheres to the original story. I bring up the original
short-story only to save myself from comments left by readers who
felt the need to share this information, under the impression that I
didn't know.
This is an episode
that gets worse in the re-watching. The first time through the
creature seemed mysterious. But, watching it again, with an idea of
how it ends, I just found it confusing. The creature was an oil
monster that came to kill the descendants of the man who started an
oil field in the 1930s. It can apparently attack as an invisible but
corporeal force, cause people to kill themselves, cause people to
kill each other, or just show up as oil and eat people. Why it needs
such variety I don't understand. I'm also rather confused by why
it's target seems to be the last person it attacks, plowing through
the most of the town first.
The main character, Sheriff Kevin Reddle (Sean Patrick Flannery), is an excellent protagonist. It's like the episode got the hard part right, giving us an interesting protagonist, but screwed up the “scary monster chasing the hero” part. When he was a child his father killed his mother, and chased Kevin with a gun, before being killed by something the locals calls The Damned Thing. Now, Kevin is constantly paranoid, but still feels a need for a connection to the family he lost. So, he lives in his parents' home, but has rigged it up with extensive surveillance. He also dreads his own coming fortieth birthday, and the local priest (Ted Raimi) advises him to come in for confession. His paranoia eventually drove his wife Dina (Marisa Coughlan) to take their son Mikey (Alex Ferris) to live in a trailer instead.
The main character, Sheriff Kevin Reddle (Sean Patrick Flannery), is an excellent protagonist. It's like the episode got the hard part right, giving us an interesting protagonist, but screwed up the “scary monster chasing the hero” part. When he was a child his father killed his mother, and chased Kevin with a gun, before being killed by something the locals calls The Damned Thing. Now, Kevin is constantly paranoid, but still feels a need for a connection to the family he lost. So, he lives in his parents' home, but has rigged it up with extensive surveillance. He also dreads his own coming fortieth birthday, and the local priest (Ted Raimi) advises him to come in for confession. His paranoia eventually drove his wife Dina (Marisa Coughlan) to take their son Mikey (Alex Ferris) to live in a trailer instead.
Of course, The
Damned Thing reappears with his birthday, and people in the town
become both suicidal and homicidal overnight, and Kevin becomes
increasingly violent. The Priest, interestingly, becomes violent in
general, but also gains a determination to wipe out Kevin's bloodline
to end the curse. While I'm not totally clear why some attackers
seems incoherent, and others can focus their rage, I think it's
effective enough to get me to suspend my disbelief. I'd say a bit
too much of the havoc takes place off-screen, but what we get is
decent enough.
The ending of the
episode left me scratching my head, though. I have no idea if The
Damned Thing wants to drag out the torment of Kevin's family, or is
just doing whatever it feels like at the moment. Kevin's death has
very little parallel with his father's. Kevin's father was attacked
by The Damned Thing as an invisible force, Kevin is eaten by the
aforementioned oil monster. Furthermore, the father's death marked
the end of The Damned Thing's attack until Kevin's fortieth birthday.
It's implied, however, that The Damned Thing killed Mikey and Dina
immediately after Kevin. Bookends with a more clear parallel would
have been far more effective here. Or at least give us a reason for
the Damned Thing to want to end the bloodline now
I'm not going to
say I hated this episode, but it's among the weakest of the series.
It's certainly not fit to be the season premiere. It lacks the punch
of Tobe Hooper's usual work, and feels more like a cut-rate Mick
Garris/Stephen King miniseries slashed down to an hour, and without
King's writing talent.
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