Cast: Raymond J. Berry, Brad Pitt, Michelle Bronson, Jack Keeler, man Kassir, and also Alva L. Petway

Composer: Warren Zevon


When threatened by one arrogant, unrelenting psychopath called Billy (Brad Pitt), small-town police officer and also retired street racer Joe Garrett (Raymond J.

Berry)—known formerly as “Iceman”—must get involved in one final challenge for the benefits of his daughter, Carey (Michelle Bronson). In spite of his cocky demeanor, Billy pays a “grave” price for underestimating his opponent.

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“King the the Road” has the potential because that a unique and thrilling episode. The being said, manager Tom Holland struggled to explore the personalities of Billy, Joe, and Carey beyond a generic surface level.


It need to be provided that Billy lacks the subtlety forced for a compelling antagonist. An early performance indigenous Brad Pitt does, however, job-related in conjunction v Warren Zevon’s biker music, thereby surrounding an otherwise cartoonish villain with a layer of secret and excitement (for example, Zevon’s sheathe of “Bad Road, Wretched Road” can be heard as soon as Billy taunts Joe before the midnight traction race, i m sorry (deceptively) to adjust the stage for an adrenaline-fueled climax).


By use cardboard characters, “King the the Road” might fail come captivate the attention of all yet the most enthusiastic Tales from the Crypt fans.

specifically problematic is that Joe—an extremely flawed protagonist to start with—and Carey remain undeveloped from begin to finish, a shortcoming that can prevent audiences from investing in the Garrett family members plight. An lack of stress and anxiety leading right into the climactic showdown in between Joe and Billy can likewise be attributed come weak characterization; specifics without adequate motive or elevator information, viewers will certainly be left through no reason to root for Billy’s triumph end a vicious thug.


“King the the Road” sends a combined message around owning increase to past mistakes. In spite of eventually accepting Billy’s challenge when endangered with blackmail, Joe never ever admits wrongdoing or even attempts to define his manslaughter fee in a path that would elicit sympathy—a stark comparison to many Tales native the Crypt episodes, the circumstances of i m sorry often result in cruel, albeit satisfying, punishment because that those who deserve it.

Concluding Comments

A trivial installment, “King the the Road” must be criticize for not balancing its action-packed sequences through insightful commentary on the human being condition. Nevertheless, classic horror devices (e.g. Gore, monsters, and also supernatural themes) are entirely absent from J. Randal Johnson’s narrative; therefore, this Two-Fisted Tales segment may appeal to a more comprehensive demographic than perform the majority of Tales indigenous the Crypt offerings.

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Overall Quality: 5/10

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