1408 (2007)

*½/****
starring John Cusack, Samuel L. Jackson, Mary McCormack, Tony Shalhoub
screenplay by Matt Greenberg and Scott Alexander & Larry Karaszewski, based on the story by Stephen King
directed by Mikael Håfström

by Walter Chaw Boy, do I like John Cusack. He has scary, earnest intensity. No one does the nervous pit-pat like he does; no one else could have been Lloyd Dobler, or Martin Blank. Then there’s The Sure Thing, Better Off Dead, Being John Malkovich, and hey, I liked The Ice Harvest (most of it, anyway). And boy, I guess Samuel L. Jackson is sometimes not terrible. The one scene he and Cusack have together in the prestige horror flick 1408 plays like seriomythic garbage-pop poetry: everything’s good–the cadence, the words; what I’m saying is that I was well and truly on board with this dumbathon all the way up to the point where Jackson’s hotel manager Olin (and as an aside, King has a special place in my heart for opening The Shining with “Officious little prick,” referring to a different hotel manager) offers that the titular room in question isn’t haunted, it’s just an “evil fucking room.” Cusack is haunted landmark guide writer Mike (the landmark guides aren’t haunted, and neither is he, he documents haunted locations…never mind), not only a bit of a lush who looks like he’s gained a few pounds on his liquid diet but a surfer, too, making this one of a sudden slew of films to deal with surfing (Surf’s Up, Evan Almighty, Fantastic Four: Rise of the Silver Surfer) while providing 1408 (it adds up to “13,” get it?) its Jacob’s Ladder/”Occurrence at Owl Creek Bridge” escape clause. Yes, it’s that kind of film–what kind of film did you think it was going to be?

The Dead Zone: The Complete Second Season (2003) – DVD

Image B+ Sound A- Extras A
“Valley of the Shadow,” “Descent,” “Ascent,” “The Outsider,” “Precipitate,” “Scars,” “Misbegotten,” “Cabin Pressure,” “The Man Who Never Was,” “Dead Men Tell Tales,” “Playing God,” “Zion,” “The Storm,” “Plague,” “Deja Voodoo,” “The Hunt,” “The Mountain,” “The Combination,” “Visions”

by Walter Chaw I’ll say this at the get-go, that “The Dead Zone”, the television series, will never completely escape the shadow of David Cronenberg’s enduring feature film adaptation of the Stephen King source novel, and that Anthony Michael Hall is a pale substitute for Christopher Walken, particularly for Walken at what might be the actor’s finest hour. Luckily, Hall has an easier time shedding his John Hughes days, having doubled in size (he’s still trim, just not Farmer Ted), donned a black leather pea coat (mine found the Salvation Army bin about five episodes in–I never, ever want to look like Hall in Vancouver playing Johnny Smith), and acquired a Vulcan arch to his brow that all but screams “serious actor.” Yet there’s something since “The X-Files” that rubs me wrong about most American shows shot north of the 49th Parallel: the genericness of the setting doesn’t scream Anytown, USA so much as “Canada: it’s cheaper and blander up here.” Lacking atmosphere and vibrancy, “The Dead Zone” is an extrapolation, especially in Season Two, of the further adventures of John Smith, a reluctant clairvoyant who can touch any person or thing (including air, which raises its own set of problems/questions) and summon up visions of past or future that inevitably put Johnny in the position of a powder-dipped saint in a Mexican parade.

Kingdom Hospital: The Entire Series (2004) – DVD

Image A Sound A Extras B
"Thy Kingdom Come," "Death's Kingdom," "Goodbye Kiss," "The West Side Of Midnight," "Hook's Kingdom," "The Young And The Headless," "Black Noise," "Heartless," "Butterfingers," "The Passion Of Reverend Jimmy," "Seizure Day," "Shoulda Stood In Bed," "Finale"

by Walter Chaw The sort of program you want other people to see in the same way you want someone else to smell how spoiled the milk is, the 13-part, 10-hour, Stephen King-scripted adaptation of Lars Von Trier's brilliant Danish miniseries "Riget" (a.k.a. "The Kingdom") is only as bloated, ridiculous, and incompetent as the rest of the master of terror's last decade of work. Auto-cannibalistic like his protagonist in "Survivor Type" and pitched as a cross between "E.R." and, one presumes, the TV version of King's "The Shining" (while playing like a community theatre rendition of "The Singing Detective"), "Kingdom Hospital" is awkward at best and eye-clawing hokum at its worst. There's no other way to describe a talking CGI anteater called "Antubis" (after the Egyptian god of death Annubis, I'm thinking) that fights a Depression-era vampire in the bowels of the titular place of healing. A spooky little girl à la The Shining (played by a terrible kid actor à la Danny from Kubrick's The Shining) describes him this way: "He eats disease, he likes to be scratched behind the ears. He's horrible. Beautiful." Yep.

The Mangler (1995) – DVD

*/**** Image A Sound B Extras C-
starring Robert Englund, Ted Levine, Daniel Matmor
screenplay by Tobe Hooper, Stephen Brooks and Peter Welbeck
directed by Tobe Hooper

by Walter Chaw I think there's probably profit in taking the tactic that Tobe Hooper's The Mangler is his shot at the lurid comic book genre and, more specifically, the weird self-abnegating prosthetics opera of Warren Beatty's Dick Tracy. But I'm not the guy to do it. Sufficed to say that Robert Englund appears in fright latex, affecting equal parts Dr. Strangelove and Lionel Barrymore's Mr. Potter as Mr. Gartley, the decrepit, despotic owner of an old industrial steam laundry that features as its centerpiece the massive, four-story long Hadley Watson Model-6 Steam Ironer & Folder, which sits in the middle of his brick sweatshop belching steam like the boiler in The Overlook Hotel.

Secret Window (2004) – DVD

**/**** Image B+ Sound A- Extras A
starring Johnny Depp, Maria Bello, Timothy Hutton, John Turturro
screenplay by David Koepp, based on the novella "Secret Window, Secret Garden" by Stephen King
directed by David Koepp

by Walter Chaw Secret Window is a checklist for Stephen King fans in exactly the same way his bloated fiction from the last ten years is a rehash of past material (and like old King material is a rehash of classic EC Comics/"Outer Limits" plots). It's an intensely wearying public window into how a popular writer has taken to auto-consumption and automatic regurgitation when inspiration flags. Typewriter intrigue? "Redrum"-like mantra? Curious wife? Lovable black sidekick dispatched with a hatchet à la Kubrick's The Shining? Check, all. Weird religious iconography, wide-brimmed Amish hats, some sort of sinister cornfield à la Children of the Corn? Surely. Popular writer tortured by an obsessive fan who wants him to write something special, à la Misery? You got it. Mysterious alter-ego nom de plume that appears to have been made manifest à la The Dark Half? Uh huh. Murdered pet and secluded woodland retreat à la Pet Sematary? Even that. Country mouse à la The Green Mile? Believe it or not. In fact, the only thing about Secret Window that doesn't stink of the King perpetual mimeograph machine (The Tommyknockers, "Ballad of the Flexible Bullet") is Johnny Depp's sly comic timing and the smooth direction by Stir of Echoes hyphenate David Koepp.

Dreamcatcher (2003) [Widescreen Edition] – DVD

*/**** Image A- Sound A Extras B-
starring Morgan Freeman, Thomas Jane, Jason Lee, Damian Lewis
screenplay by William Goldman and Lawrence Kasdan, based on the novel by Stephen King
directed by Lawrence Kasdan

by Walter Chaw As stupid as stupid can be, Lawrence Kasdan’s splashy comeback on the backs of two writers who haven’t really been any good for about 40 years between them (Stephen King and William Goldman) is riddled with knee-slapping plot inconsistencies and the sort of dunderheaded conveniences that reek equally of desperation and a lack of respect for the audience. Based on the first King novel written after the author was smeared across a Maine highway by a man who would later kill himself in a trailer, the book is a fine short story trapped in the body of a 600-page book. Hopelessly protracted, after the first 200 pages, the novel becomes a pathetic exercise in chronic self-reference: the malady of a successful author who’s begun to lose the line between reality and his cult of personality. King has become a writer interested in writing love letters to his fanbase and smug gruel for everyone else.

Hearts in Atlantis (2001) – DVD

**/**** Image A Sound A- Extras B-
starring Anthony Hopkins, Anton Yelchin, Hope Davis, Mika Boorem
screenplay by William Goldman, based on the novel by Stephen King
directed by Scott Hicks

by Walter Chaw That there is a wistful framing device in Hearts in Atlantis announces from the beginning exactly the kind of Stephen King movie this is going to be. Directed by Scott Hicks, more of a visual stylist than a storyteller, Hearts in Atlantis is a hollow addition to the cottage sub-genre of non-horror adult contemporary King adaptations that includes The Shawshank Redemption, The Green Mile, and, most glaringly, Stand By Me. Scripted by two-time Oscar-winner William Goldman (who also adapted King’s Misery and the forthcoming screen version of his Dreamcatcher), Hearts in Atlantis is a clunky bit of period treacle. It covers the requisite bases of magic realism and bully intrigue without even satisfactorily following through on a major plotline concerning a really boss bicycle. Based on the novellas “Low Men in Yellow Coats” and “Heavenly Shades of Night are Falling” from 1999’s Hearts in Atlantis, the film of the same name is inferior to its sources in its aversion to addressing the darker elements of childhood.

The Green Mile (1999) – DVD

**½/**** Image A Sound A Extras D
starring Tom Hanks, Michael Clarke Duncan, David Morse, Doug Hutchison
screenplay by Frank Darabont, based on the serialized novel by Stephen King
directed by Frank Darabont

by Vincent Suarez In his review of The Thin Red Line, your host at FILM FREAK CENTRAL laments that viewers often are inclined to choose whether they prefer that film or its contemporary, Saving Private Ryan. I find that the same unfortunate phenomenon exists among those who’ve seen both of Frank Darabont’s first two films, The Shawshank Redemption and The Green Mile. (Curiously, Tom Hanks stars in each pair of films.) While the two share many traits (their prison setting, their writer-director, and their source material: short stories by Stephen King), they are vastly different films. For while The Shawshank Redemption is an institutional morality tale, The Green Mile is a death-row fairy tale.

Stephen King’s Storm of the Century (1999) – DVD

Storm of the Century
**½/**** Image A Sound B+ Commentary A-

starring Tim Daly, Colm Feore, Debrah Farentino, Casey Siemaszko
teleplay by Stephen King
directed by Craig R. Baxley

by Bill Chambers Donald Trump probably hears it every time he gets a divorce: “Give me what I want and I will go away.” Stephen King, prolific author of books beautiful (The Green Mile serial) and banal (Insomnia), recently wove a miniseries, the TV equivalent of an “event movie,” around this loaded demand. For three consecutive nights during last February’s sweeps week, viewers tuned in to Storm of the Century wondering what the psychic, psychotic Linoge (Colm Feore) could possibly want from the townsfolk of a New England inlet on the eve of a blizzard loosely inspired by the one that was christened “storm of the century” when it passed through the Eastern seaboard in 1993.

Apt Pupil (1998)

***/****
starring Brad Renfro, Ian McKellen, Elias Koteas, David Schwimmer
screenplay by Brandon Boyce, based on the novella by Stephen King
directed by Bryan Singer

by Bill Chambers "No man is an island," goes the famous John Donne poem, effectively summarizing Apt Pupil's central themes. Though hardly a great film, Bryan Singer's ambitious adaptation of Stephen King's same-named novella* is nonetheless challenging, a bleak picture destined to be misunderstood by the masses. But perhaps the most shocking aspect of this inclement psychological thriller is that a major studio got behind it.