Smoreni Zmaj If we look at "Jenifer" from our own point of view, this is a horror story in which the monster, with disfigured face and the body of a beautiful woman, is seducing men, in order to provide shelter and protection while killing everything on its path. On the other hand, Jennifer is neither crazy nor evil. If we look at the story from her perspective, this is a shocking drama about a being that is not essentially human, but a wild beast that does what is in predator's nature - follows its urge to hunt and provide a breeding partner. This duality is what makes this film so powerful. As we sit on the edge of a chair in a tremendous anticipation, and we struggle with the nausea caused by Jennifer's face and scenes of cannibalism, at the same time we are sympathetic to her and we fear for her survival. The excellent story is honored with even better acting, directing and music, and the only criticism I have on this episode is that its ending is more than predictable.9/10

sorinapha I've been super excited to start watching Masters of Horror, and started with this episode in particular because I had heard good things about it. Well...I was a bit disappointed. The acting was positively wooden. While I understand Carrie-Anne Fleming didn't have a lot to work with under the circumstances, her exaggerated movements came across as comical, but not funny enough to make this episode likable as an accidental comedy. The ultra-fake gore was not my favorite, that awkward thing at the beginning where Spivey raped his wife was absolutely unnecessary, even the consensual sex scenes were clunky and unattractive. Jenifer's theme music was also a bit annoying, but that's besides the point. All in all, I know the point of this series was to be kind of campy, that much is reflected in the choice of directors, but this was ridiculous. Will I keep watching the show? Sure. Do I have high hopes at this point for the other episodes? Not exactly.

poe426 It's hard when you're a fright fan to see a story you've always loved adapted for The Big Screen- or, worse still, television. Rarely do the filmmakers get it right; the teevee people have an even worse track record. Case in point: JENIFER, the Bruce Jones/Bernie Wrightson classic. I read it when I was a kid, and it made a lasting impression on me. It was truly horrifying. Brilliantly constructed and beautifully rendered, JENIFER, despite its grisly depictions, was one of my all time favorite tales of terror. Along comes Steven Weber and Dario Argento- neither one of whom could conjure forth such a tale on their own- and suddenly JENIFER's rewritten, dumbed down, and foisted upon unsuspecting viewers as part of the "MASTERS" OF HORROR series. Argento has always been a filmmaker whose gifts seem to me to be more on the TECHNICAL end of things; like Kubrick; NOT the Storytelling end of things. It shows here, all too clearly. The sausage-munching scene pretty much says it all.

Bob_the_Hobo Detective Spivey (Steven Weber) happens upon a deranged man preparing to hack a woman to death with a butcher's cleaver. Spivey shoots the would- be-attacker, to find his potential victim is a hideously disfigured woman named Jenifer. Jenifer has no background he can find, but his interest in her grows to the point of bringing her into his home and subjecting himself - and his family - to a madness inside him that only Jenifer can bring out.Steven Weber got his start on the lighthearted television comedy "Wings", and to see his range as an actor go from bumbling playboy to layered, disturbed protector is simply stunning. His performance here is the best I have seen out of his career, possibly because he also wrote the script this film was based on. No one knows the source material better than the author, and Weber shows tremendous talent both in front of and behind the camera.Critics rarely use the term "jaw-dropping" to describe what they are critiquing. "Jenifer" is jaw-dropping, both in terms of the film and the character herself. Actress Carrie Fleming plays Jenifer under very effective facial makeup and still manages to turn in an unforgettable performance. She may not speak, but she mumbles and trembles and tucks into Weber's arms with the insecurity of a child, throwing the viewer off as to what to expect she is capable of.As Weber's and Jenifer's barbarously symbiotic relationship turns from nurturing to sexual to downright predatorial, Dario Argento's direction kicks in. The classic 'master of horror' specializes in the sadistic, and his television work is no exception. This is less gory than most of Argento's work, but certainly no less gruesome, especially the psychological aspects. The title character preys on the weak of heart. She attacks those close to Weber's character while also growing like a parasite inside him. As the screen goes black, you must ask yourself; who is the monster?This is not a film for the weak of heart. If you have a weak stomach, Gregory Nicotero's unparalleled visual effects may make your insides churn, and the script may do much the same. However, if you are interested in a psychological thriller that will make you think and entertain your inner barbarian, this is the film for you.