![]() ![]() The teen characters are similarly stuck in a realm where their drama - love triangles, hockey practices, amateur filmmaking - is likely to bore young viewers and feel quaint to anybody older. I’d compare it to a magician explaining the secret of a trick he hadn’t bothered to do in the first place. And as seems to be the case every time Locke & Key hits a peak - episodes three and four and seven through nine are the highlights - it’s followed by a valley, in this case a rushed finale that manages to be both over-explained and confusing. The penultimate episode, directed by Vincenzo Natali, has the series’ lone good fright as part of a fast-moving installment that is, frankly, sharper and funnier than anything that comes before it, gives our heroes a dose of high energy and finishes on a killer Billie Eilish needle drop. These don’t always connect with a story that has become alternatingly whimsical and sad, but very rarely actually scary. Joe Hill and Gabriel Rodriguez’s comic is a horror story with fantastical undertones, but the series has reversed the equation, adding classic horror references - the town’s name has gone from “Lovecraft” to “Matheson,” like Richard, while Tom Savini references, plus a cameo, abound. ![]() ![]() The spacious Key House has everything - ample bedrooms, magical keys tied to a family curse, scenic views, a secret walled-off room in the basement, seaside access, a demonic woman trapped in a well. After a shocking act of self-immolation (explained far later in the series), the pilot begins with the Locke family - mother Nina (Darby Stanchfield), teens Tyler (Connor Jessup) and Kinsey (Emilia Jones), plus Bode (Jackson Robert Scott) in elementary school - leaving Seattle after a horrifying family tragedy to move to the ancestral home of deceased patriarch Rendell (Bill Heck, in a lot of flashbacks) on a remote part of coastal Massachusetts. ![]()
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