American Horror Story

Relationship problems, infidelity, trust, new beginnings, and yet this story is definitely not a romance. Evil under the stairs, a ghost around the corner, and lots of skeletons that want to come out of one scary house's closet - and yet I wouldn't label the series purely as a horror show. Ryan Murphy and Brad Falchuk have simply dusted off the optimism and enthusiasm that accompanied them for three years on Glee and decided to write down all the negative thoughts that had accumulated in their heads since the end of Nip/Tuck. And when the phenomenal Jessica Lange or the captivating Evan Peters came to assist them, they hit the mark. Although AHS is unsettling from the first seconds and creepily unpleasant with all its converging storylines, I found it hard to look away. If the family conversations didn't occasionally stutter in pace, the events could have been even more captivating. Nevertheless, it was the first obsidian from the black treasure. (17/03/2012)

This creative team never stops surprising me. I boldly thought I knew what to expect from the continuation of the most unpleasant TV experience, but all the horrifying twists or suggestive scenes took my breath away right from the start. And there were still plenty of terrifying moments, resistance, and viewer enthusiasm to come. If this story is capable of anything, it is of forcing the viewer to watch more attentively as the main characters are tormented by fate or the whims of the villains. And the new crazy group, with only a partial change in the cast, is perfect for fans to cheer on. Eventually, both the likeable Kit and the unpredictable "sister Jude" and even doctor Arden got under my skin. Therefore, it's a shame that the story, which seemingly has everything a horror movie could have, lacks tempo and occasional intensity in the last quarter. This is offset by a satisfying all-encompassing finale, where, thanks to the pleasant mystery, I am willing to overlook the absence of some answers. Thanks to this, the tour of the asylum confirms that the FX network has a perfectly specific and truly unique production after two seasons. (19/04/2015)

A minimum of male characters, sarcasm dripping from every line, a fashion extravaganzas, an incomparable style – and Stevie Nicks. If there is one thing clear about the third story from this horror collection, it is that Ryan Murphy thoroughly enjoyed it. The girl power oozing from the witches is intoxicating and brings plenty of moments that fulfill the audience's dreams. However, the supernatural plot itself has one drawback. It occasionally involves resurrecting the dead, which often greatly damages the dramatic effect. As a result, the screenplay starts to appear somewhat superficial halfway through, but slows down in similar whirlwinds to build up towards a grand and appropriately fateful finale. And because this stay in New Orleans was mainly a showcase of the most amazing, complicated, or outrageous characters, I admit that I rolled my eyes at Marie Laveau and her hairdressing party, while eagerly devouring every second with Cordelia, Zoe, and Misty. (19/04/2015)

Bowing before a falling curtain is atmospheric to the last wagon, but still leaves a feeling of unnecessary disappointment. The cast is even more star-studded, the plot twists more intensified, and some characters more twisted, but the storyline feels like a dispute between five screenwriters. The main theme is neither the contrast between human monsters and loathsome people, nor Jimmy's conflict with Dandy, nor even Elsa's desire for fame. American Horror Story – Freak Show is more of an exhibition of great guests with sometimes incomprehensible psychology of the main characters and strange relationships and emotions between them. Above all, this wandering addition to the American Horror Story library is poorly tied together. This is a circus where Ryan Murphy didn't really put his heart into it. (19/04/2015)

It's as if, when Jessica Lange left the position of the perennial main character, they were looking for a new face. Not an acting face (which Ryan Murphy found immediately thanks to the phenomenal Lady Gaga), but the face of the entire show, because this year takes everything possible from previous years. It is closest to American Horror Story: Murder House, borrowing characters and atmosphere, from American Horror Story: Asylum the pervasive atmosphere of goosebumps, and from American Horror Story: Freak Show the storytelling pace with an endless number of supporting characters and detours. However, American Horror Story: Hotel has a crucial advantage over the last mentioned, as it remains gripping, focusing on the same storylines at the beginning and end, and more than ever before, it benefits from a delightful soundtrack. Even this time, the script cannot avoid certain mistakes, and for example, the civilian approach to John and his family's story feels last-minute, just like the reveals from his detective work. The contrast between the suffocating and fresh mood, the captivating performances of Denis O'Hare and the always brilliant chameleon Sarah Paulson, are such seductive temptations that the stay at the Cortez hotel became the second best season. (20/02/2016)

While one group of viewers was disappointed already because of the premise, and the other group because of what ultimately emerged from it, this time I will only and solely express my gratitude. For the first time since the almost forgotten American Horror Story: Murder House, this puts the horror in American Horror Story. Unexpected appearances of disgusting creatures, occasional well-timed jump scares, or such disgusting character deaths that I preferred to look away. But when there is no fear, Ryan Murphy and Brad Falchuk do their thing again, and this time so harmoniously that I dare to even label Roanoke their best season yet. The deaths here are not only terrifying but also ironically, surprisingly, and often playfully toying with the audience's expectations given the scope of certain veteran actors' roles. Sarah Paulson's increasingly brilliant storylines add a meta-humorous touch, making me laugh even now when I think back to them, but at the same time, I am disappointed by how few people (especially in the references-packed second half) are listening to them. The peak season and the brightest proof that things can be done differently, even for the sixth time. (26/11/2016)

The most unpleasant season, and thanks to the absence of supernatural elements, clearly the most oppressive. I am still amazed at the versatility of the golden core of actors (unsurprisingly dominated by Sarah Paulson), newcomer Billie Lourd excels with every line she delivers, and the escalating plot makes me increasingly anxious as I wonder if everything is as black and white as it seemed at the beginning of the series. Despite the perfectly functioning tension and Ryan Murphy's typically snappy humor, it still falls a bit short of the highest rating. The level of violence and bloody scenes has surpassed the threshold where I can accept everything without hesitation, and there were moments when I involuntarily recoiled due to the images I saw, which was a bit much this time around. (11/12/2017)

While Ryan Murphy had two good ideas for the individual seasons, he also had another idea: to mix them together and get one of the best seasons of the anthology against all expectations. Apart from the main plot of what might happen in the future, this is above all a properly strengthened sequel to the American Horror Story third season, Coven, as well as an impressive epilogue to the first season, Murder House; and in the latter case, there are more than a few references and cuts to previous seasons. Paradoxically, it is in the pivotal and rightfully beloved episode "Return to Murder House" that a certain division occurs, transitioning from the absolute zenith of the AHS universe to attractive experimentation and genre fooling around, where a robotic storyline with the crazy duo of Evan Peters-Billy Eichner remains sufficiently entertaining, but flirting with an Illuminati parody crosses a certain line between gentle absurdity and unrestrained satire. The finale then brings everything back to ninety percent, as it is suspenseful, deeply emotional, and ingeniously headed in the right direction. And yet I am falling just short of giving it the highest rating, perhaps because the sixth season, Roanoke, to me felt even more polished. Two big acting pluses for Sarah Paulson, who is more beautiful at forty-four than ever before, and for finally being able to sell me on Cody Fern, who has been popping up everywhere lately and is more than capable. I couldn't warm up to him for a long time, but as Michael, he's fantastic in every aspect. (11/01/2019)

*SPOILER ALERT* – It was clear from the announcement of the subject matter that this would not be an ordinary slasher parody, yet the author's approach pleasantly surprised me. As a retelling of 80s teen horror, it is at once a first installment, an over-the-top sequel, a parody of itself, an unexpected origin story, and a nostalgic return years later. And yet, that's still not enough for me. The dense atmosphere that is usually inseparable from American Horror Story only arrives in the final act, and instead we're watching something that resembles a slightly whispered, underdeveloped season of Scream Queens. The storylines go for shock value unnecessarily often, the twists don't surprise because they have been overplayed since the very beginning, and even though I was pleased that the character I was least interested in at the start (Jingles) became my favorite to watch, I was left with almost nothing at all from Camp Redwood. I am grateful at least for the well-executed, pointed, and surprisingly moving finale, which gently closes the entire story into its own box. The fact that my head was almost hurting from all the inept spinning in that moment is another matter. (21/11/2019)

"Red Tide" – 70% – American Horror Story: a cross-section Stephen King. One part of the team read The Shining, the other Pet Sematary, and the third Salem's Lot. The result exceeded all imaginable expectations, confirmed Finn Wittrock's talent, brought back many beloved faces, and, after quite a long time, managed to surprise with how well the series can scare and thrill... and then it all went wrong. The episode "Winter Kills" drifts away from established certainties, turns the secondary (and sufficiently explored in previous seasons) theme of social criticism into the main theme, burying the show. And that's a terrible shame because, despite the thoroughly genre composition, there was more potential than ever before. "Death Valley" – 40% – Despite a promising premise, this is the worst that the AHS universe has ever offered me. A collection of overworked conspiracy theories that are only lightly touched upon and clumsily stitched together. The black and white visual of the past storyline is well done, but what's the point when all interesting motifs are gradually abandoned and blend into a strange farce. Faithfully B-movie in quality, as befits a Double Feature, but probably not in the way the creators hoped for. (07/04/2022)