John Cusack and Samuel L. Jackson are two of the only people in the world who weren't talking on their cell phone when a weird psychic zombie virus was unleashed through all the earpieces. The concept was already outdated by the time "Cell" barely came to theaters -- we all know everyone would be texting nowadays -- but the film's weak characters, laughable mythology and bizarre finale are the real reasons why this adaptation flops. Joan Allen and Anthony LaPaglia seem like the perfect married couple.
But while her husband is off on one of his many business trips, Allen discovers that he's actually a serial killer. Essentially a dramatic two-hander, Allen and LaPaglia have a few great moments as they find their marriage going through unexpected changes, but Peter Askin's generic direction neutralizes most of the suspense, and the storyline peaks early and quickly fizzles out. It's not terrible; it's just dull. Thomas Jane plays a farmer plotting to kill his wife in this Netflix original, but of course irony rears its ugly head and his uppance doth come.
Sadly, like his character, he can't quite get away with it. You'd think Stephen King's short story about industrial workers fighting killer rats would make for an entertaining creature feature, but "Graveyard Shift" dawdles too long and doesn't get to the icky good stuff until closer to the end, and there isn't enough drama to keep us engaged until then. But at least it's got Brad Dourif, playing a fascinatingly intense exterminator who steals every single scene he can find.
Scott play the sinister men who want to kidnap her and exploit her abilities. It starts well, but the movie loses focus for most of the second act before picking up again with a genuinely explosive climactic battle. A series of full-moon murders convinces a disabled boy, played by Corey Haim, that a werewolf is on the loose in his town. Naturally, no one believes him, and naturally, he's right.
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Gary Busey shines as Haim's miscreant uncle, and Everett McGill is tragic and scary as a cursed priest, but "Silver Bullet's" subpar production values and completely unconvincing monster effects drag down this otherwise likable film. Stephen King's tale of a young couple trapped in a town overrun by homicidal kids is a great idea for a movie, but Fritz Kiersch's adaptation wanders aimlessly in search of scares, and the over-the-top supernatural finale is unintentionally hilarious.
Linda Hamilton and Peter Horton make little impression as our heroes, but at least John Franklin and Courtney Gains are scary as hell as the teen cult villains. Bryan Singer's bleak coming-of-age drama stars Brad Renfro as a teenager who cons a fugitive Nazi, played by Ian McKellen, into revealing his darkest secrets, and the relationship they form is unwholesome to the extreme.
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It's undeniably scary, and Renfro and McKellen give great performances, but almost every scene in this film seems reminiscent of the accusations against Singer accusations, so it's still incredibly hard to get through. It's important to remember that some Stephen King stories are completely nuts, and if you need an example, look no further than "Dreamcatcher.
It's too absurd to take seriously, but if you get on this film's bonkers wavelength, it's undeniably amusing. Stephen King's first original screenplay, "Sleepwalkers" stars Alice Krige and Brian Krause as mother-son cat monsters who are also lovers. Cheesy and lurid, with very questionable visual effects and storytelling choices, but at least Mick Garris' film is never boring.
Stephen King's enormous fantasy epic yielded a frustratingly small and conventional movie adaptation. Tom Taylor plays a youngster who stumbles into a timeless battle between good and evil, represented by the heroic Roland Deschain Idris Elba and the villainous Walter Padick Matthew McConaughey. The CGI action and rushed storyline are pure Hollywood hackery, but Elba is so incredibly charismatic that the film is watchable -- disposable, but watchable -- anyway. Jonathan Jackson stars as a death-obsessed college student who hitchhikes home to visit his sick mother and encounters a grim specter of death along the way.
But at feature length, this material feels pretty skimpy. Another well-constructed film, made increasingly uncomfortable by context. Johnny Depp stars as a troubled, struggling, once-popular artist, accused of plagiarism by a mysterious stalker played by Jon Turturro. David Koepp's adaptation of "Secret Window, Secret Garden" is relatively slick and suspenseful, but it's difficult to watch a film about Depp threatening his wife and losing his mind without mentally sidestepping into some unsettling and distracting territory.
The second film in Stephen King and George A. Romero's horror franchise, this time directed by Michael Gornick, is more of a mixed bag than the original, with the conventional vengeful statue yarn "Old Chief Wooden Head" completely failing to pass muster. Fortunately, the slime monster short "The Raft" makes up for it, and road-trip ghost story "The Hitch-Hiker" concludes "Creepshow 2" on an amusingly grim note.
Both actors make the most of their roles, with Moore in particular having a wild time. However, this respectable but unremarkable remake never quite feels as raw and frightening as the original.
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Robert John Burke stars as a corrupt, heavyset lawyer who uses his mob connections to stay out of jail after he accidentally hits an old gypsy with his car. Her widower curses him to get "thinner," every single day, until he wastes away into nothingness. Tom Holland's film is a nasty piece of work that plays more like a cruel joke than a feature film.
But as cruel jokes go, it's a good one.
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The only film that Stephen King directed himself, "Maximum Overdrive" tells the story of a group of strangers who get trapped at a gas station when all the machines on Earth come to life and start killing everybody. Terrorized by vehicles and vending machines, they're forced to fuel the trucks, and it's just about as ridiculous as it sounds. Arnold Schwarzenegger stars as a wrongly accused man, forced to fight for his life against colorful superpowered murderers for the benefit of a live studio audience. The action is entertainingly bizarre, and iconic game show host Richard Dawson plays a fantastically evil version of himself.
It's an effective media satire and a ripping sci-fi thriller. Frank Darabont's second Stephen King adaptation tells the story of Depression-era death row inmates and guards, whose lives are forever altered by the arrival of a mysterious, magical new prisoner. Director Andy Muschietti knows how to build a great scare, and "It Chapter Two" has some doozies, but the conclusion of this horror epic falls prey to tedious mythologizing and a flashback structure that treats the adult Losers like afterthoughts in their own story.
It's a disappointing conclusion to the instant classic "Chapter One. Anton Yelchin stars as a young boy who becomes fascinated with his new neighbor, played by Anthony Hopkins, who has strange psychic powers. Scott Hicks's coming-of-age film is slight, frequently to a fault, but the performances by Yelchin and Hopkins and Hope Davis as Yelchin's self-obsessed mother are so rich and excellent that "Hearts in Atlantis" makes a strong impression anyway.
Directed by Vincenzo Natali, who previously made a simple geometric shape seem terrifying in "Cube," this adaptation of a novella by King and his son, Joe Hill, excels at transforming everyday vegetation into the stuff of nightmares. The plot gets bizarre, and eventually flies off the rails, but "In the Tall Grass" stays riveting regardless. In the Tall Grass A little boy calls for help inside a field of grass, prompting a brother and sister to search for him and get hopelessly lost inside a verdant labyrinth of violence and fear.
A serial killer flies from one small airport to another, killing everyone they find, and a tabloid reporter played by Miguel Ferrer is on the case. The supernatural story gets increasingly ridiculous, but that's the point: Ferrer plays a cynic who finds himself suddenly believing the weird tales he peddles. John Cusack plays a non-fiction writer who spends the night at allegedly haunted hotels, but when he winds up in room he gets more than he bargained for.
It's one of the great modern haunting movies. Timothy Hutton plays a novelist almost-but-not-entirely like Stephen King, who wrote under a pseudonym, had that pseudonym exposed, and publicly "killed" his alter ego. George A. Romero's creepy and personal horror story goes in weird directions, but Hutton's impeccable dual performance keeps "The Dark Half" rooted in nightmarish and engrossing allegory. A scheme to stop smoking goes horribly wrong, a jilted husband makes a deadly wager, and a cat struggles to rescue a little girl from a monster in "Cat's Eye," one of the best horror anthologies of the s.
Each segment is an excellent shocker in its own right, with twisted senses of humor and seat-clutching suspense. The only thing keeping "Cat's Eye" from classic status is the weak framing device, which doesn't do much to connect the stories together, other than the mostly incidental presence of a cat.
Max von Sydow opens up a knick-knack store in Castle Rock, Maine, where every customer finds exactly what they desire, and all it ever costs them is a little favor. Gradually the whole town starts turning on each other, building to a hellish conclusion. Fraser C. Heston's film has a lot of story to fit into just one movie, and sometimes feels rushed, but the fantastic performances by von Sydow, Ed Harris, Amanda Plummer and J.
Walsh more than compensate. Subscribe to Deadline Breaking News Alerts and keep your inbox happy. All Rights reserved. You will be redirected back to your article in seconds.
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