Brad Dourif and James Earl Jones introduce four prairie tales around the campfire, trying to out scare each other. While they most definitely are on the prairie, the only thing grim about these tales, is how pitifully boring they are. Dourif is the city boy heading west to join his wife, while Jones, looking like a cave man, is a bounty hunter with a human package to deliver. Story #1 is about the danger of crossing an Indian burial ground and is bad. #2 Concerns an apparently pregnant woman wanderer, which leads to a Stephen King-like moment. Also bad. #3 Story of a displaced Southern family featuring Lisa Eichhorn, and lots of talk about a hate crime. More bad. #4 A gunslinger competition that is about as scary as a basket of bunnies. Bad. The only redeeming factor about "Grim Prarie Tales" is the banter between the storytellers, but it isn't enough to save it. - MERK

Brad Dourif and James Earl Jones get together for this horror western omnibus to snarl at each other over a campfire, pausing now and then to mouth off subtext about storytelling (Jones plays the brutish bounty hunter who knows a scary story or three, Dourif is the learned schoolteacher who asks him if stories can be vehicles for more than just thrills). Every time the movie strays from the campfire into a story it becomes tedious because the only kind of deadly these short stories are is deadly dull. Thankfully they're all pretty short so it's never dull for long. Watching two actors who like to chew scenery and spit it back out have at it makes me feel a little warm. I don't want to be too harsh onthis because, truth be told, horror anthology type films are never really meant to be cutting edge horrifying. Their primary means of expression is quiet spooks about something everyone understands is made up around the fire or comes from hearsay, and there's something nostalgic involved, the rosy glow of it, like one hankers down close to a fire and listens to others exchange stories not only for the stories told but also the pleasure of listening to them next to a fire. Horror westerns are few and far between and like most of them, this is mainly a horror film, until the last segment where sixshooters are drawn out and we get shootouts in dusty empty streets.

I think this is a "lost" film that never truly found its audience. It was billed as a mainstream horror film, but it actually transcends true genre classification. This is more of a thinking man's movie. The terror is almost entirely psychological, but it is more of a quirky drama than horror.This is a real overlooked gem. I don't want to build it up too much because I realize it isn't everyone's cup of tea. Just read a few reviews from dim-witted critics and you will see that generally this film was not well received. Maybe those reviewers should have stuck with classics such as "Face-Off" or "Armageddon". No need to use that brain if there are enough explosions.I can tell you that "Grim Prairie Tales" is one of those movies that I have to watch every so often because it sticks with me. It has a winning combination of high-caliber writing, directing, cinematography, and acting that really gets in the back of my mind and emerges at times. There is just something memorable about it. Dare I say it – it is haunting.The film stars James Earl Jones as a want-to-be bounty hunter who encroaches upon the camp of a schoolteacher (Brad Dourif of "Chucky" fame) in the middle of the desert. Soon, sitting under a still moonlight night by the fireside gives rise to some strange tales (making this an anthology film). It seems that the two share little in common, except for a love of great storytelling.The first yarn is from Jones' character, Morrison. It is about an old man and his fear of dying, which manifests itself as religious intolerance and some general crotchety-ness. While I believe this is the weakest tale of the movie, it does employ some clever devices that broach the subject of mortality. My main problem with this segment is that it uses day-for-night shots unsuccessfully. I have a hard time getting past a technical shortcoming such as that. Don't judge the movie solely on this aspect, though.Deeds (Dourif) is impressed with the craft and mechanics of the story, but not its shock value. Morrison takes it as a challenge to make a stronger impact with a more intense story. He relates another tale designed to both titillate and disgust the schoolteacher on the surface. Lurking beneath those still waters is a narrative that raises questions about the more base nature of even the most pious man.The next segment stars none other than Jimmy Olsen – Marc McClure. He plays Tom, a wayward husband on his way to meet his wife. Along the way, he meets Jenny - an attractive pregnant woman. Tom decides to act as her guardian. The woman reluctantly agrees, and that night the campfire reveals that her "pregnancy" was only a trick to try and protect herself from potential assault. She writhes in ecstasy, and while her mouth is gently whispering "no" her eyes are begging for Tom to have his way with her. Without spoiling too much, what follows is one of the most intriguing "encounters" ever filmed. To my knowledge, it is entirely unique and original (albeit disturbing).Upon completion of the story, Deeds is thoroughly disgusted. Morrison suspects that Deeds was, in fact, excited by the tale and was forced to cover-up his reaction by masking it with disdain. Deeds then must redirect with his own campfire story.Similar in theme with Morrison's last tale regarding underlying sin, Deeds spins a yarn that also involves an idyllic pioneer life that is not quite as it seems. It is a new beginning where Arthur (William Atherton from Die Hard), an upstanding and religious man, marries a woman nobody else would have as she was pregnant out of wedlock. Life looks promising. That is until Arthur's stepdaughter sneaks out to see how her new father is helping the community.The innocence of the daughter is permanently marred as she witnesses true hatred and betrayal. The family unit continues, despite the sojourn through evil. The most shocking part is how the daughter can bury the atrocities in her mind to gain some semblance of normality.Morrison is astounded. The well-crafted tale gets the wheels turning. Now the gauntlet has really been thrown. He can't let Deeds have the best story of the night. Finally, after some soul-searching, Morrison attempts to top his story-rival.The last story is the most visceral of the quartet, both visually and psychologically. It is about a gunslinger contest to be the best in the west. The favorite is the focus and the story is about his reconciliation of conscience and actions. There is an animated dream sequence that, while entertaining, feels tacked-on. Otherwise, this story is one of the best tales. "One bullet!" - great line.Deeds concedes the victory to Morrison. As the sun rises in the east, both must continue their very different journeys. The tale ends with another interesting twist, as well.I am hoping that this gets released to DVD soon, and hopefully with some sweet extras. As it is now, you can only get used VHS copies of it. If you like thinking about the film you are watching, and don't really go into the film expecting to see a horror film, then you might really enjoy "Grim Prairie Tales".

It's true, none of the stories told in this strange campfire chat are particularly scary. Jones' tales of vengeful Indians, mysterious pregnant drifters, and undead gunslingers fail to chill the marrow, with only the middle tale of the three providing a certain "gross-out" factor. Dourif's single tale of family and bigotry shows true horror can lie not in the supernatural but in everyday life.However, it's the play-off between these two great actors that gives the greatest joy in this film. The contrast (and unlikely rapport) between prim clerk Dourif and grizzled bounty hunter Jones - the latter playing against type in a way that'll surprise those used to his supporting roles in, say, the Jack Ryan films - makes them a "buddy" pairing to rival Riggs and Murtaugh. Give them their own series!