Twilight Zone: The Movie

Plot synopsis:
PrologueThe film starts with a driver (Albert Brooks) and his passenger (Dan Aykroyd) driving on a rural two-lane road very late at night, singing along to Creedence Clearwater Revival's cover of "Midnight Special" on a cassette, which then breaks. The pair make a game between themselves about TV theme songs, then the conversation turns to what scares them. They begin to talk about their favorite episodes of The Twilight Zone and how weird and scary some of the episodes were. Out of the blue, the passenger then asks the driver, "Do you want to see something really scary?" The driver reluctantly pulls the car over. His friend turns his head away for a few seconds, then turns around, having pulled off a false mask off his face... becoming a demonic creature. The creature then fatally attacks the driver.The opening scene then cuts to outside the car as the familiar Twilight Zone opening theme music and monologue begin, spoken by narrator Burgess Meredith, a veteran of the original TV series."You unlock this door with the key of imagination. Beyond it is another dimension. A dimension of sound. A dimension of sight. A dimension of mind. You're moving into a land of both shadow and substance of things and ideas. You've just crossed over into... The Twilight Zone."First segment ("Time Out")"You're about to meet an angry man: Mr. William Connor, who carries on his shoulder a chip the size of the national debt. This is a sour man, a lonely man, who's tired of waiting for the breaks that come to others, but never to him. Mr. William Connor, whose own blind hatred is about to catapult him into the darkest corner of the Twilight Zone."The only original segment, directed by John Landis. It is loosely based on two original Twilight Zone episodes: "A Quality of Mercy" and "Deaths-Head Revisited". Bill Conner (Vic Morrow) is an outspoken bigot who is bitter after being passed over for a promotion. Drinking in a bar after work with his friends, Bill makes prejudiced remarks and racial slurs towards Jews, blacks and Asians, attracting the attention of a group of black men sitting near them who, of course, strongly resent his racist comments. Bill leaves the bar very angry.When he walks outside, the supernatural element of this story really begins. Bill finds that he is not in the parking lot. Instead, Bill inexplicably finds himself in Vichy France during World War II. He is spotted by a pair of SS officers patrolling the streets, who see him as a Jewish man. After a chase around the city, in which Bill is shot in his left arm by one of the German officers, Bill attempts to hide in an apartment, but the French woman quickly betrays him by shouting a warning to the German soldiers patrolling the streets. Bill climbs out on a ledge of the building, in trying to escape and finds himself trapped. While the two German officers take pot shots at him standing along the narrow ledge, Bill slips falls off the ledge and suddenly lands on soft earth ground.Bill discovers that he has time traveled to the rural South during the 1950s, where the Ku Klux Klan sees him as an African American whom they are about to lynch. Bill is scared and confused and vehemently tries to tell them he's white. After kicking one KKK member against the burning cross and setting him on fire, Bill breaks free and tries to escape (while still hampered by his bullet wound). While trying to escape the Ku Klux Klan members, he dives into a nearby pond and time travels into the Vietnam War, where he is a Vietnamese man nearly blown to bits by U.S. soldiers.(It is clearly implied at this point that by evil or divine intervention, Bill has become the selected nationalities of the people against whom he was always prejudiced.)The grenade thrown by the soldiers blasts him back to Vichy France, where he is captured by the same two Nazi officers chasing him and put into an enclosed railroad freight car, along with other Jewish Holocaust prisoners, with no possibility of redemption or rescue. The final shot shows Bill futilely screaming for help to his friends from the bar that only he can see as the train pulls away, presumably to a concentration camp or death camp.Second segment ("Kick the Can")"It is sometimes said that where there is no hope, there is no life. Case in point: the residents of Sunnyvale Rest Home, where hope is just a memory. But hope just checked into Sunnyvale, disguised as an elderly optimist, who carries his magic in a shiny tin can."The second segment is directed by Steven Spielberg and is a remake of the episode "Kick the Can." Mr. Bloom (Scatman Crothers) is an old man who has just moved into his new home at Sunnyvale Retirement Home. Upon his arrival, he sits around kindly and smiles as he listens to the other elders reminisce about the joys they experienced in their days as youths. Mr. Bloom implies to them just because they're old doesn't mean they cannot enjoy life anymore and that feeling young and active has to do with your attitude not your age. He tells them that later that night, he will wake them and that they can join him in a game of "kick the can". All agree; however, a grumpy man named Leo Conroy who is fairly skeptical in his outlook on life disagrees, saying that now that they are all old they cannot engage in physical activity and play the games they once did as children.That night, Mr. Bloom gathers the rest of the optimistic residents outside and plays a game of kick the can. They are all ultimately transformed back into child versions of themselves. Although they are extremely ecstatic to be young again and engage in the activities they once enjoyed so long ago, they also realize that being young again means you not only experience the good aspects of life again but also the bad. They request to be old again, which Mr. Bloom grants to them. Leo Conroy witnesses one resident that still remains young and says that he wants to go with him before the boy runs off. Conroy realizes that he does not have to stop enjoying life because of his old age.The segment ends with Mr. Bloom leaving Sunnyvale Restirement Home to move into another retirement home in another town (which leaves the audience to presume that he repeats the process eternally), and Conroy is outside Sunnyvale home happily kicking a can around the yard, for he has learned being young at heart is what really matters.Third segment ("It's a Good Life")"Portrait of a woman in transit: Helen Foley, age 27. Occupation: schoolteacher. Up until now, the pattern of her life has been one of unrelenting sameness, waiting for something different to happen. Helen Foley doesn't know it yet, but her waiting has just ended."The third segment is directed by Joe Dante and is a loose remake of the episode "It's a Good Life". Helen Foley (Kathleen Quinlan) is a mild-mannered school teacher who is traveling to her new job across the country. While visiting a rural bar/diner for directions from the owner Walter (Dick Miller), she witnesses a young boy (Jeremy Licht) playing a video game and then being accosted by a group of rowdy drunks for "accidentally" turning off the TV they were watching. Soon after, Helen decides to leave. Not paying attention, she backs into the boy with her car in the parking lot, damaging his bike. Helen offers the boy, Anthony, a ride home.They eventually get to Anthony's house, which is an immense home in the country. When Helen arrives, she meets some people whom Anthony tells her are his family, his Uncle Walt (Kevin McCarthy) and his sister Ethel (Nancy Cartwright). Also included in the family are Anthony's parents. Helen notices that the family seems extremely apprehensive, though she dismisses it. Anthony shows Helen around the house, including his sister's room; Anthony tells Helen that the girl is his "other" sister Sara (Cherie Currie), who got involved in an accident. The camera pans down and the audience view that the girl has no mouth, unbeknownst to Helen.The family have dinner, which, as Helen realizes, is a meal made up of Anthony's favorite foods; mainly fast food, including a burger with peanut butter. During dinner, Ethel shouts at Anthony and her plate smashes on the ground, with no explanation. After satisfying her promise of taking Anthony home, Helen attempts to leave; it is at this point that Helen discovers Anthony possesses unexplained supernatural powers that allow him to do practically anything he desires by wishing whatever he wants, including making cartoon characters appear in real life and making people disappear.Helen asks to leave, but Anthony insists that she see Uncle Walt's "act". Uncle Walt is unsure as to what to do with the top hat that Anthony provides, and reluctantly pulls a white rabbit out of the hat. The family are relieved and applaud, only to see the rabbit become a demonic rabbit-monster before disappearing again. The people finally inform her they aren't his real family and that they were brought to the house under false pretense by Anthony, as she was. They also explain that they cannot leave for Anthony has imprisoned them there in his own fantasy world that he created out of his mind. Helen finds a note on the floor that a family member has left, reading, "Help us! Anthony is a Monster!". The note is shown to be from Ethel after a short investigation, and Anthony, using his mental powers, sends Ethel into the television set where she is killed by a large, frightening, somewhat dragon-like cartoon character.After the "family" has angered Anthony, he instantly makes them and the house disappear, leaving himself and Helen in a limbo-like state surrounded by literal nothingness. Helen promises Anthony that she will be his true friend if he agrees not to abuse his power anymore. Anthony agrees to use his powers for good. He produces Helen's car and he and Helen ride off together to her new home, surrounded by bright meadows filled with flowers.Fourth segment ("Nightmare at 20,000 Feet")"What you're looking at could be the end of a particularly terrifying nightmare. It isn't. It's the beginning. Introducing Mr. John Valentine, air traveller. His destination: the Twilight Zone."The fourth segment is directed by George Miller and is a remake of the episode "Nightmare at 20,000 Feet". John Valentine (John Lithgow) is a nervous and stressed-out airline passenger on a flight to Los Angeles. The story begins with flight attendants attempting to coax Mr. Valentine from the lavatory as he tries to recover from what seems to be a panic attack. Although not mentioned during the segment, it is most likely that Mr. Valentine is suffering from severe aviatophobia. He is repeatedly assured by the flight attendants that everything is going to be all right, but his nerves and antics disturb the surrounding passengers.As Mr. Valentine takes his seat, he notices a hideous gremlin-like creature on the wing of the plane and begins to spiral into severe panic. He watches as the creature wreaks havoc on the wing, losing more control each time he sees it do something new. Valentine finally snaps, grabs a hand gun from another passenger, an air marshal, shoots out the window (causing a breach in the pressurized cabin), and begins firing at the creature. This only serves to catch the attention of the gremlin, who rushes up to Valentine and promptly destroys the gun. After a tense moment, in which they notice that the plane is landing, the gremlin grabs Valentine's face, then simply scolds him by wagging its finger in a "no, no" manner. The creature leaps into the sky and flies away as the airplane begins to make an emergency landing. As the delerious and incoherent Valentine is wrapped in a straitjacket and carried off in an ambulance, the police, crew, and passengers begin to discuss the incident, writing off Valentine as insane. The aircraft maintenance crew soon arrives however, and everyone gathers to examine the massive amounts of unexplained damage to the plane's engines.Epilogue...Valentine is in an ambulance going to a hospital when the driver (played by Dan Aykroyd, from the opening) starts playing Creedence Clearwater Revival's "Midnight Special". The ambulance driver turns around and says, "Heard you had a big scare up there, huh? Wanna see something really scary?" The film then ends as the scene fades out to a starry night sky along with Rod Serling's opening monologue from the first season of The Twilight Zone."There is a fifth dimension, beyond that which is known to man. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone."

Tags: psychedelic, philosophical

Review:
Directed by Joe Dante who, at that time, was best known for "The Howling" with films such as "Gremlins" still in his future, this is the story of a little boy who hears people's thoughts and has a way of "wishing people away" if he gets angry enough at them.
The star of this story is the art direction and sets as we are transformed into almost cartoon like worlds that are both funny and frightening.The last and best story is the tale of a frightened airline passenger (well played by John Lithgow) who threatens the safety of everyone when he seems to be the only person that sees a creature on the wing of the airplane.
Burgess Meredith, star of 'Time Enough at Last', one of the best known and most beloved of all episodes, is the narrator for this trip into some bizarre places.Unfortunately the movie will always have an enormous stigma attached to it due to the untimely and horrific death of actor Vic Morrow and two child extras during the shooting of Segment 1.
This gets us off to a good start because Landis does understand that with the TV show the payoff was a most important element.Segment 1 sees Morrow playing an unrepentant bigot who gets a major dose of his own intolerance when he's mistaken for a Jew by Nazis, a black by KKK members, and a Vietnamese man by American troops in 'Nam. This is a very dark episode that doesn't end too satisfactorily, but Morrow is excellent, the look of Paris during WWII is nicely realized, the pacing is effective, and there's a great in joke referring back to Landis's "Animal House".Segment 2, Steven Spielberg's remake of "Kick the Can", sees wonderfully genial Scatman Crothers injecting some magic into the lives of senior citizens in an old folks' home.
Bill Mumy, the kid in the original episode, plays a diner patron.Segment 4, directed by George Miller of the "Mad Max" series, is far and away the best, an over the top remake of "Nightmare at 20,000 Feet", in which terrified airplane passenger John Lithgow believes he sees a creature busy destroying the planes' engines as it flies through a storm.
It is very hard to think of another film anywhere that had such a great potential as TWILIGHT ZONE: THE MOVIE had, only to have a senseless and totally preventable tragedy--the deaths of actor Vic Morrow and two illegally hired Asian child actors--mar the impact.
Aside from that, and some heavy-handed moralizing that even the original show's creator Rod Serling would have had problems with, this is a fairly good tribute to what was perhaps the best TV series in history.The prologue (with Dan Aykroyd and Albert Brooks) and Segment 1 are both originals, written and directed by John Landis.
Landis' penchant for hamfisted dialogue and erratic direction dilute what could have been an effective piece; and the tragedy that occurred on his watch taints not only this segment but much of the rest of the movie.Segment 2, a remake of the 1961 episode "Kick The Can", directed by Steven Spielberg, stars Scatman Crothers as an elderly magician who brings a sense of youth to the residents of a senior citizens home, though over the objections of a veritable old fuddy-duddy (Bill Quinn).
He is still my favorite director, but this is one of his weakest.Segment 3 remakes "It's A Good Life."  Under the inventive hands of director Joe Dante (THE HOWLING), this film stars Jeremy Licht as a boy with the power to enslave and terrorize his family when he comes to feel that they hate him.
Dante's use of inventive special effects (courtesy of Rob Bottin) and black comedy enliven this segment, despite some weird overacting from the rest of the segment's cast (including William Schallert and Kevin McCarthy).Segment 4 is a reworking of the famous episode "Nightmare At 20,000 Feet." With George Miller (MAD MAX) at the director's helm, the segment stars John Lithgow as an incredibly anxious passenger with a morbid fear of flight who constantly sees a monstrous gremlin tearing apart at the wings of his plane during a severe storm.
Lithgow, who takes over for William Shatner (who had the role in the TV episode), gives a bravura performance, arguably paving the way for his role in "2010" as an astronaut deftly afraid of heights.Jerry Goldsmith's usual efficient score and some good special effects work help to make TWILIGHT ZONE: THE MOVIE not only an above-average tribute to a great TV show, but also a good anthology film that combines fantasy, suspense, and mystery.
After the opening prologue with DAN AKYROYD and ALBERT BROOKS, as bored drivers on a lonely country highway who like to play pranks, TWILIGHT ZONE: THE MOVIE offers four stories, supposedly in the vein of stories that Rod Serling wrote for the famous TV series.
"Twilight Zone: The Movie" is a mostly entertaining anthology film based on Rod Serling's classic TV series of the 1960s.
(Not to mention firing Steven Spielberg.)And it's sad seeing Vic Morrow in his final role-- I'll always think of him as the sadistic coach in THE BAD NEWS BEARS, which is one of my all-time favorites.All in all, a very uneven movie which improves steadily as it goes along.
The best directed by John Landis is the first, where a bigot (played by Vic Morrow who died during filming by a helicopter crash accident) who becomes pursued of evil Nazis, Ku Klux Klan and American soldiers in Vietnam.
The second segment directed by Steven Spielberg is a silly story about old people living in a retirement house who turn into little boys, thanks a strange visitor (Scatman Crothers).
Despite Dante's direction and how much fun he seems to have with the story, it's still nothing special.The last story, directed by George Miller, is a remake of "Nightmare at 20,000 Feet." This is easily the best story in the film, with a powerful performance by John Lithgow as an airplane passenger who is terrified of flying.
Our film begins with a prologue directed by John Landis ("Kentucky Fried Movie", "An American Werewolf in London" and "Animal House") with two buddies (Dan Ackroyd and Albert Brooks) who play TV trivia and do their own scare contest in the car while driving.
The second story is directed by Steven Spielberg is a gentle tale of a wise old magical man (Scatman Crothers) who helps a group of senior citizens to live their youth again, the third tale directed by Joe Dante ("The Howling', "Pirahna" and "Gremlins 1 & 2") is a bizarre story of a teacher (Katherine Quinlan) runs into a strange young boy with special magic powers and meets his stranger family.
Finally the last story directed by George Miller ("Mad Max Trilogy") is about a nervous airplane passenger (John Lithgow) who seeks a creature on the wing of the plane whom is hellbent on destroying the aircraft.Superb anthology of horror, sci-fi and fantasy tales is based on the memorable TV show of the same name is a fantastic one from four great directors.
The stories except the first one are based on classic Twilight Zone episodes while the first tale is an original piece, this is the movie that got me hooked into watching the TV show in the first place.
TWILIGHT ZONE - THE MOVIE (1983) **1/2 Vic Morrow, Scatman Crothers, Kathleen Quinlan, John Lithgow, Dan Aykroyd, Albert Brooks.
Uneven big-screen transition of Rod Serling's classic tv series showcasing anthologies with a twist of the supernatural: Morrow (who was tragically killed during the filming and causing quite a stir of controversy) plays a bigot who gets his: Crothers is an old coot with magic in a game of "Kick the Can" at an old folks home; Quinlan is a schoolteacher who comes across the path of a young boy with eerie powers; and Lithgow (in the best of the set) is the personification of an airplane phobic who sees a creature on the wing of his plane doing damage in a "Nightmare at 20,000 Ft." The opening bit with cross-country traveling Aykroyd and Brooks is devilishly fun.
I must say the film version was pretty decent and special due to it's big name directors(Miller, Spielberg, Dante, and Landis) and two of the segments were remakes of old episodes "Kick the Can" and "Nightmare at 20,000 feet".
The opening scene starts off leaving the viewer surprised and drawn in as it begins with a nice little prologue with Dan Aykroyd and Albert Brooks as two lonely friends driving the road at night who begin to play a game of flashing lights and name that TV theme songs, only to begin a debate of "Twilight Zone" episodes which ends up in a scary and surprise shock!
He feels the country is overtaken with outsiders, the segment then takes a huge turn and twist in "The Twilight Zone" Connor becomes his own worst enemy as he travels thru time all the way back to Germany and Hitler's war against the Jews, then he's a victim of the Klu Klux Klan ending out as a Vietnam war prisoner.
Good direction here by John Landis even if he overstated it, he showed hate destroys.The second segment probably the one weak one is an old episode remake called "Kick the Can" the old magic man himself directs Spielberg yet the tale is predictable and too fairy tale type.
Good segment from Joe Dante just one year before his "Gremlins" fame.The last and best segment "Nightmare at 20,000 Feet" is the classic remake of the 1963 episode with William Shattner this time it stars John Lithgow as the frightened passenger riding the red eye flight.
Plus the segment ends neat and nice with the prologue ending with the return of the Aykroyd character and it closes out with the narration of Rod Serling.Really this movie has been watched many times over the years by me and it's special and a timeless classic for any Zone fan.
All of the stories, except the prologue and the first one, are based on real Twilight Zone episodes.So the film starts out with a very nice prologue, by John Landis.
"Twilight Zone:The Movie" is a mixed bag.The prologue inside the car is well done.The different segments,however,mostly are not up to the level of the prologue.Here are my comments about each of the 4 segments of this movie:First segment(3 stars out of 10) A very downbeat story about a bigot sent back in time to Nazi Germany.This story is also too predictable.Sadly,this story was also more downbeat because of when Vic Morrow and two children were killed on the set after a helicopter crashed when this segment was filmed.
Second segment(5 stars out of 10)A remake of the episode where nursing home residents turn into children after playing the game of Kick The Can.Okay,but not as well done as the original.Scatman Crothers was far more effective in the movie, "The Shining", as well as in other roles that he did.
The fact that three of the four segments are actually REMAKES of classic episodes (and are all brilliantly directed, if you ask me) goes a long way towards explaining WHY the movie's so True to its Source- but these are well-thought-out remakes as opposed to just rehashes; and the Landis episode would've made an excellent episode of the original series as well: it, too, is True to the Spirit of the Source.
A shame, because originally Spielberg was planning to direct a far more interesting segment involving a nasty kid being pursued by real monsters on Halloween night.The film definitely picks up a great deal with Joe Dante's segment.
A Twilight Zone movie divided into four chapters directed separately by John Landis, Joe Dante, Steven Spielberg and George Miller - how awesome sounds that?
John Landis, Steven Spielberg, Joe Dante, and George Miller each direct the film's four respective segments.In the first, "Time Out," the only original story here, a racist (the late Vic Morrow, who died in a horrific accident while filming a sequence along with two young children) is caught in a supernatural time warp that forces him to assume the ethnicities of the people he's denigrated.
In the last (my personal favorite), "Nightmare at 20,000 Feet," John Lithgow plays John Valentine, a stressed-out airline passenger who notices that a monster is tearing apart the plane bit by bit but the problem is, nobody believes him.I love the social commentary and bitter irony of the first segment, the second segment is so-so, the third is brilliant and scary and darkly comical, but I love the terror/suspense and performances of the fourth segment.While the movie is flawed and lacks the skillful social and political commentary of its source material, it's fair to say that there's no way it could match Serling's original genius - since by the time the movie was made, Serling had been dead for eight years.
In 1983, they released, "Twilight Zone: The Movie".The movie is split into four segments including a prologue and epilogue filled with horror and suspense.The thing's I liked about the film is that it had some decent scary moments, some good acting from Dan Aykroyd and Kevin McCarthy.
I think it comes pretty close to being a perfectly constructed piece of filmmaking: funny, manic, scary and just exhilarating from start to finish.It is far superior to the original Richard Donner-directed episode that starred William Shatner; I can only assume that people who prefer the original are influenced by a sense of nostalgia.Everybody I know thinks it is BY FAR the best segment!As for the others...The Prologue is okay, kind of fun to see young Albert Brooks and Dan Aykroyd.
Then comes the rather worthless first segment,directed by John Landis,which isn't even based on a TWILIGHT ZONE episode.
"The Twilight Zone: The Movie" is divided into 4 different segments so you can't really judge the film as a whole, but overall it was quite good.
While this film is hardly classic, it turned out to be decent since there was an horrible accident on set so early in the production.The prologue is directed by John Landis (An American Werewolf in London, Blues Brothers), starring Albert Brooks and Dan Aykroyd in a car discussing TV show.
Landis, ass.producer George Folsey Jr, the unit producton manager, the special FX man and the helicopter driver were aquitted of manslaughter in 1987.The second segment is directed by Steven Spielberg (Close Encounters, ET) and starring Scatman Crothers, and is the first actual segment that is a remake of a Twilight Zone episode ("Kick the Can").
Somepeople doen't like this segment because it is only loosly based on the 'Zone episode, but that was Dante's point, to try to create something new out of something old.The final segment is by George Miller (Man Max, The Road Warrior), and it stars John Lithgow as a terrified airline passenger who thinks he sees something on the wing of the plane.
It's well done, and I'd like to think that the directors contributed to the film out of respect for Serling, who is conspicuous by his absence here (but admirably voiced by Burgess Meredith - who appeared in the original series in the cautionary tale "Time Enough at Last", self-referentially discussed in the movie's prologue).So an excellent movie to watch, with lots to recommend it - sterling work from all four directors, a cracking title sequence and a great score.
Well-intentioned feature film about the classic series adapted by four noted directors(Steven Spielberg, Joe Dante, George Miller, and John Landis) who re-tell three episodes from the series('Kick The Can', 'It's A Good Life', & 'Nightmare At 20,000 Feet') along with one original(about a bigot played by Vic Morrow who gets his comeuppance), yet film is a complete bomb; three remakes are totally inferior and pointless(despite one good performance by John Lithgow), the framing story with Dan Aykroyd & Albert Brooks is unfunny and leads nowhere, especially in the crass ending.Worst thing about it is how the original(Ho-Hum) segment proved fatal, resulting in the death of actor Vic Morrow and two children, in a flashback scene that was never used.
Directed by: John Landis (Prologue & 'Time Out'), Steven Spielberg ('Kick the Can'), Joe Dante ('It's a Good Life') and George Miller ('Nightmare at 20,000 Feet' & Epilogue)Written by: John Landis (Prologue & 'Time Out'), George Clayton Johnson, Richard Matheson and Melissa Mathison ('Kick the Can'), Jerome Bixby and Richard Matheson ('It's a Good Life'), Richard Matheson ('Nightmare at 20,000 Feet') and Robert Garland (based on the series 'Twilight Zone' by Rod Serling)Starring: Vic Morrow as Bill Connor ('Time Out'), Scatman Crothers as Mr. Bloom ('Kick the Can'), Kathleen Quinlan as Helen Foley and Jeremy Licht as Anthony ('It's a Good Life), John Lithgow as John Valentine ('Nightmare at 20,000 Feet') and Dan Aykroyd as Passenger/Ambulance Driver (Prologue & Epilogue respectively)Quite the credits.
Having never seen an episode of the original television series and diving into this feature without any idea of who directed what segment, Twilight Zone: The Movie turned out to be a delightful surprise for me.
Beyond it is another dimension - a dimension of sound, a dimension of sight, a dimension of mind.If these words set your spine a-tingling, then you're undoubtedly one of the many who have visited that fifth dimension beyond that which is known to man: The Twilight Zone (if, however, you have no idea what I'm talking about, then do yourself a favour and check out the classic Rod Serling TV series immediately).Twilight Zone: The Movie is a collection of four bizarre tales (three of which are from the original TV series) as told by a handful of top fantasy directors: John Landis, Steven Spielberg, Joe Dante and George Miller.
Twilight Zone: The Movie the Landis, Spielberg, Dante, Miller film remaking 3 classic Twilight Zone episodes.
This movie remakes a few of the classic 'Twilight Zone' episodes from the original series.