Firestarter

Tags

1980's, Art Carney, David Keith, Drew Barrymore, Firestarter, Freddie Jones, George C. Scott, Heather Locklear, Louise Fletcher, Mark L. Lester, Martin Sheen, Moses Gunn, Science Fiction, Stephen King, Thriller

Based on the Stephen King novel, Firestarter is something of a mixed bag when it comes to it. A thriller with some science fiction leanings, it generates some suspense and has a good cast, headed by a young Drew Barrymore. It just has a few inconsistencies that stop Firestarter from rising to a level of major greatness

Andy McGee( David Keith) is on the run with his young daughter Charlie( Drew Barrymore) from a nefarious government agency known as The Shop. We learn that when Andy was younger and a student, he met Charlie’s mother Vicky(Heather Locklear) in an experiment conducted  by the mysterious agency. After being injected with a dose of a hallucinogenic compound, they developed strange powers. Andy can manipulate people through mind control to do what he wants, while Vicky is telepathic . When Charlie was born, she too had powers. In her case, she can cause fires with her mind, often brought on by stress and anger. Andy’s power also weakens him because it uses up so much of his brain function and needs to be controlled as often as possible . With the government onto them and observing them, Vicky was murdered and Charlie was briefly kidnapped . Following his retrieval of his daughter via mind control, Andy is now wanted and on the run. Andy wants to tell the papers about what they’ve been through and expose the nefarious organisation that won’t let them rest. This in turn puts him and Charlie in dangerous territory as they can never really trust anyone. The Shop wishes to use Charlie’s powers for their own ends and are headed by the slippery Hollister(Martin Sheen).  He sends crazed and extremely dangerous assassin John Rainbird ( George C. Scott) on their trail. The assassin has his own disturbing agenda for wanting them captured, in particular little Charlie . Once captured, Andy and Charlie are experiments on by Hollister and sinister Dr. Pynchot(Moses Gunn) . But it’s only a matter of time for as Charlie’s powers continue to grow,  no one is going to be safe from what she will unleash.

Mark L. Lester does a pretty decent job of adapting the Stephen King material and sprinkling memorable moments in there. Yet his control over timing and other areas is less assured. The decision to start the movie in medias res causes Firestarter to loose steam as it continues into the story. Though it is redeemed by a rather eventful and truly explosive finale , Firestarter shoots itself in the foot with its decisions and contrivances that make you scratch your head. The opening half is watchable and has tense moments , but the middle part sags because it wants to have its cake and eat it . Which brings me onto the pacing of the film. I find that Firestarter looses some steam in the middle section  because the story gets repetitive and could have been tighter. As the film goes on we are gifted to moments that do generate some considerable suspense . I’ve seen people group into the genre of horror but I’d put it more as a thriller of paranoia and in the realm of science fiction in some areas Where the movie does score high point is on the effects, which still hold up for their age and just how explosive they do get. For reference, check the climactic scene if you wish to see a lot of fire and destruction .  It’s pretty fantastic and truly memorable stuff and it’s a blast seeing practical effects too. The score by electronic band Tangerine Dream is pretty wonderful; evocatively though a pulsing soundscape evincing danger, hope and action with a lot of style. It adds to the atmosphere of the piece and raises Firestarter up a few notches on the watchability scale.

What sparks Firestarter into life is the main cast. A pint sized Drew Barrymore brings strikingly mature conviction to a role that is quite challenging for someone of such young years. Barrymore gets across the feeling of trying to control something she never wanted, while also showing just how powerful she can be when pushed to the limit. In the emotional stakes she doesn’t miss a beat and is immediately sympathetic to the audience. A lot of Firestarter hinges on Barrymore and though the film is a mixed bag, Barrymore is incredibly impressive and does the heavy lifting of conveying innocence and danger with ease. David Keith is a little  histrionic as her father,  but once he settles into the part he is great and finds a certain groove to play. Kieth has a weariness and intensity about him that shows the fatigue and his “gift has caused him but how deeply he also cares for his daughter . Barrymore and Keith work well together and you do believe in the father daughter bond they share, which I find goes a long way. George C. Scott who I find always delivers, is on sensational form as the extremely creepy assassin who tries to win Charlie over. Scott is as slippery as a reptile and cunning as a fox; you can tell he’s relishing playing a nasty piece of work and he plays it for all it’s worth. Also on slimy duty is Martin Sheen who is reliably villainous and like Scott, having fun being nasty here. Rounding out the villains is Moses Gunn, who has a level of charm and niceness that really disguises cruel and unusual intentions. Evil when it’s presented with a smily face is rather unnerving and Gunn definitely understands the assignment. Art Carney makes the most of his role of man who takes Andy and Charlie in and risks his life in the process. It’s Louise Fletcher and Heather Locklear who are shortchanged with roles that don’t often much in the way of memorability. Both women are good actresses so it would have been nice if they’d be gifted with something to work with. And the same could be said about Freddie Jones, who is only really there to show that some in The Shop have become disillusioned with the practice and to suffer a rather grisly death.   

So overall, Firestarter is a film of good and bad.  But it can be commended for its evocative score, some standout sequences and wonderful cast, especially Drew Barrymore as the eponymous girl with Pyrokinesis

It

Tags

2010's, Andy Muschietti, Bill Skarsgård, Chosen Jacobs, Finn Wolfhard, Horror, It, Jack Dylan Grazer, Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Stephen King, Wyatt Oleff

Director

Andy Muschietti

Starring

• Bill Skarsgård as Pennywise
• Jaeden Lieberher as Bill Denbrough
• Sophia Lillis as Beverly Marsh
• Finn Wolfhard as Richie Tozier
• Jeremy Ray Taylor as Ben Hanscom
• Jack Dylan Grazer as Eddie Kaspbrak
• Wyatt Oleff as Stan Uris
• Chosen Jacobs as Mike Hanlon

A very successful adaptation of the Stephen King classic, It has great development in characters alongside the horror that makes it both a coming of age tale and a creepy horror.

It’s the 80’s and in the town of Derry, Maine, everyone is shocked when youngster Georgie is taken and presumably killed by an unknown evil. His brother Bill feels guilty about it as he was too sick to go out and play with his brother the day of the horrible event. Bill finds some comfort in his group of friends; loudmouth Richie, quiet, skeptical Stan and hypochondriac Eddie, who are all outcasts in a way. Summer vacation begins and Bill is still refusing to believe that his brother is dead. But as summer continues, soon something sinister takes hold and begins tormenting him and his friends. Add to this that numerous children are going missing much in the way that Georgie did and the gang are spearheaded into investigation. Around this time, Beverly Marsh( who is derided by others for alleged promiscuity, but in actual fact is being abused by her father), becomes part of the group . The group is later joined by two other lost souls in the form of loner Ben and orphaned Mike. They become known as The Losers Club. All of them are plagued by terrifying visions; making them vow to unearth what it is that causes these terrifying occurrences. Along with this, each has a variety of issues of a personal nature to deal with on a daily basis. What they discover is that the thing that took Georgie is in fact a manifestation of fear, that often takes the form of an evil clown called Pennywise. It feeds on fear every twenty-seven years and it’s targets are children. It’s all a matter of if these seven kids can defeat such evil before it’s too late.

Andy Muschietti is an accomplished director and his effective and sturdy direction that gets to the heart of the battle to overcome evil and fear is one that truly captures the imagination. He makes the film a fun but frightening ride that has the time to invest you with the people populating it and can be emotionally in tune too. From the start, this manages to carve out its own triumph and stand out . It was previously adapted as a mini series that is held in high regard and at first I wasn’t sure whether this would work. But happily, it does work and marks itself as something excellent and different. Whereas the series had two timelines, this version sticks to a setting of the 80’s. The era proves very effective as a certain level of nostalgia is very apparent thanks to many pop culture references and the visuals. With strange angles and fine lighting, there’s a genuine atmosphere to It right from the start. The visual side is a major string in the bow of an impressive film and one I highly enjoyed. Quite a lot of scenes really stand out, particularly the ones of the fear inducing variety, such as Beverly being assaulted by stands of hair down the plug hole, an intense confrontation with the creature and a sensational finale in the sewer where battle commences. Crucially, It is just as much a coming of age story as it is one of horror. The kids all have their own issues to deal with along the way. From controlling mothers to abusive fathers and being an orphan, these tribulations can often be just as frightening as the approaching evil. I appreciated this approach that deepened the pre-adolescent characters and had me rooting for them. Which isn’t to say the horror moments aren’t effective, quite the opposite in fact. It all builds gradually, showing us Pennywise and other visions at first slowly and then with great momentum and maximum scares. And while CGI is employed, it never overshadow proceedings at all, if anything it enhances the terror at play. And Pennywise is a seriously eerie thing to behold it must be said. With a stomach churning voice and seriously terrifying appearance, he’s the stuff of nightmares. A sensational music score and sound design underline everything with creepiness and soul, largely stemming from how chilling it is and how amazingly it employs sonic trickery to unleash horror. The only niggle I have with the film is that it runs a bit too long. Other than that, I’m a massive fan.

The cast make for a fine ensemble, with the biggest impacts being made by Jaeden Lieberher as the leader of the club and Sophia Lillis portraying the only girl who captures the attention of all. But there is seriously no weak link in this talented cast of youngsters who each have a moment to shine. I really enjoyed all of their performances as they fleshed out their troubled characters brilliantly.  And of course there is Bill Skarsgård; ably stepping into Tim Curry’s shoes as the nightmarish Pennywise. He’s super disturbing and enthralling, relishing the sheer evilness of the part.

An accomplished and convincing horror, with a lot of humanity in it and characters you root, It is exemplary horror movie making with a heart.

Cujo

Tags

1980's, Christopher Stone, Cujo, Daniel Hugh Kelly, Danny Pintauro, Dee Wallace, Ed Lauter, Horror, Lewis Teague, Stephen King

Film Title

Cujo

Director

Lewis Teague

Starring

• Dee Wallace as Donna Trenton
• Danny Pintauro as Tad Trenton
• Daniel Hugh Kelly as Vic Trenton
• Christopher Stone as Steve Kemp
• Ed Lauter as Joe Camber

Although a terrifying and tense film based on the Stephen King novel, Cujo falls down in pacing and a sometimes over the top nature. It’s thankfully saved due to some horrifying sequences and a powerful turn from Dee Wallace that raise Cujo up a few levels, even if the overall product is flawed.

In the opening, we observe the friendly St. Bernard named Cujo chasing a rabbit. He gets his head stuck in a cave when looking for the rabbit, but awakens the bats that reside there. His presence scares the bats(which are rabid) and they respond by biting him. Slowly, Cujo begins exhibiting signs of rabid behaviour, that no one seems to notice. Meanwhile, in the town, various dramas are at play. Housewife Donna Trenton is married to advertiser Vic and has a young son named Tad. Although she cares for both, she has grown restless and dissatisfied. This has led her into an affair with local stud Steve Kemp, although Donna attempts to resist this. A problem with the family’s car forces them to visit alcoholic mechanic Joe Camber, who is the owner of Cujo. The dog is progressively getting more frightening and infected, but everyone is concerned with other things to truly take note of it. Donna, feeling guilty about her indiscretions, admits to her affair to Vic. Having to deal with a crisis at work and the knowledge of his wife’s affair, Vic leaves for business, which makes Donna be in charge of sorting the failing car and grappling with not knowing what the future holds. Little realising what awaits them, Donna and Tad head to Camber’s house to finally get the car sorted out. Unfortunately, by this point Cujo has become a rabid animal that has killed Camber and his friend. The dog soon sets upon Donna and her son, isolating them in their car that the battery has run out of. Trapped inside the car and terrified, Donna must summon up all the resolve she has to survive the attacks of Cujo and ensure the safety of her son.

Lewis Teague makes a good stab at directing this horror tale and does manage some very scary moments. His control over pacing and narrative is less assured, as he could have brought a bit more immediacy to things to increase the shocks. When the movie gets the nitty-gritty of the rabid dog attacking people and ultimately trapping Donna and Tad , is where the big strength and effectiveness of Cujo lies. It’s the build up to the unleashing of violence that provides a stumbling block for the movie. In one respect, some of it builds suspense and comments on how wrapped up everyone is in their own lives, that they fail to notice a change in Cujo. Yet the other narrative points are too melodramatic and soap opera style that they feel extremely out-of-place. It’s a conundrum to be sure, and just when you may consider turning the movie off, the horror kicks in and the better parts of Cujo become noticeable. With odd camera angles and a frenetic energy, the latter half of Cujo makes up for the stale first part. It gets straight to the fear of Man’s Best Friend going awry, which is a frightening notion brought to shocking life here. The use of what at first looks likes the point of view of the beast, that ultimately isn’t is impressively used when Cujo jumps out of nowhere and puts your body in a jolt. The dog of the title is terrifying yet pitiful, as it isn’t the dog’s fault that it became rabid. Still, the sheer size and appearance of the animal is ferociously rendered and towering when it menaces Donna and Tad. Above all, the theme of a protective mother and her child is brought forth, and is what gives Cujo the life-blood it needs to be memorable. Watching as they are holed up in the run-down car, near dehydration and completely traumatised makes for some nerve-shredding suspense and a sympathy for their plight. A creeping and capricious score enables suspense and terror to influence the atmosphere in the film and make it stick.

For all the flaws that Cujo boasts, the main acting from Dee Wallace is not one of them. She really convinces as the desperate mother in a battle to save her child, while almost at the point of exhaustion. Wallace searingly plays the protective mother with committed energy and depth; you genuinely feel worried for her as the attacks from Cujo become more frequent and she must gather what’s left of her strength to fight. Between vulnerable and strong, Wallace brings a much-needed dose of power to the film that is a chief asset among the other less compelling parts. Young Danny Pintauro gets it right as the absolutely terrified child, in a horrific situation. I’ve heard some people say that he’s annoying because he screams a lot in the film, but he is a child and just think how you’d react if there was a rabid dog attacking you. The other roles in the film are OK, but nothing like that of Wallace and Pintauro. Christopher Stone does what he can with the part of spurned lover, but Ed Lauter overdoes it as the hard-drinking owner of the eponymous threat. Saying that, Lauter does have very good and shocking death scene that really kicks the film into gear

An uneven slide of horror that nonetheless has its moments of greatness, Cujo can best be described as a mixed bag. If things had been a bit more focused, it may have attained excellence. Overall a creeping atmosphere, some outstanding camerawork and fine central performance are the redeeming factors that keep you watching Cujo.

Carrie

Tags

1970's, Amy Irving, Betty Buckley, Brian De Palma, Carrie, Horror, John Travolta, Nancy Allen, Piper Laurie, Sissy Spacek, Stephen King, Supernatural Horror, William Katt

Film Title

Carrie

Director

Brian De Palma

Starring

• Sissy Spacek as Carrie White
• Piper Laurie as Margaret White
• Amy Irving as Sue Snell
• Nancy Allen as Chris Hargensen
• Betty Buckley as Miss Collins
• William Katt as Tommy Ross
• John Travolta as Billy Nolan

Based on the novel by Stephen King, Carrie is a heartbreaking and frightening take of bullying and the limits that someone is pushed to. With Brian De Palma behind the camera and Sissy Spacek supremely moving as the titular protagonist, Carrie becomes a compelling exercise in horror rooted mostly in the real world, but with supernatural touches complimenting it.

Carrie White is a painfully shy outcast in high school, who is mercilessly bullied by her fellow peers. She has an equally unhappy home life where her mother Margaret is a crazed religious zealot who thinks anything remotely sexual is a sin, regularly beats Carrie and forces her to pray for her alleged sins. Carrie is once again tormented when she experiences menstruation for the first time in the showers and as a result of her upbringing that hasn’t explained it, she is targeted by a number of girls headed by the sadistic Chris Hargensen. Miss Collins breaks up the horror of the situation and attempts to comfort Carrie. She punishes the girls for their horrible treatment of Carrie, resulting in Chris being banned from prom due to her lack of sympathy and refusal to admit she’s done anything wrong. At the same time, the timid Carrie starts exhibiting signs of telekinesis that flair up when she is angry and she struggles to understand. One of the girls involved in the torment,  Sue Snell, starts to feel very guilty about her part in it and wanting to be nice, she asks her boyfriend Tommy to take Carrie to the approaching prom. She sees it as a way to help Carrie and also as an apology for her behaviour of which she feels immense remorse for. Carrie is apprehensive when Tommy asks her as she thinks it is a prank, but after talking and getting advice from the kind Miss Collins, she accepts. Meanwhile, the horrid Chris ropes her boyfriend into engineering some sort of revenge on Carrie. Carrie’s mother is adamant that her daughter will no go to the prom, but Carrie finally stands up for herself and attends. But after a vicious prank set up by Chris and her boyfriend humiliates Carrie just as she feels accepted, she completely breaks and makes those who have bullied her very sorry in a most fatal and gruesome way with the use of her powers.

Brian De Palma directs this film a stylish and surprisingly empathetic touch to showcase the way that Carrie wants to be accepted and is repeatedly bullied for it. Sensitive and compassionate are not often words associated with De Palma, but his approach to the material really hits home in how it presents the horrors of bullying and being seen as different by ignorant others. And while a film that is in the horror genre, the biggest unsettling parts are the depictions of cruelty and nastiness that Carrie endures. When she finally lashes out and unleashes her powers, you can see why this is happening. She has been put to the razors edge and is now acting out retribution of the most fatal kind. Carrie is no monster, merely a misunderstood girl with a gift that finally snaps when torment gets to much, and I think everyone whose ever been mistreated or bullied can at least relate to that feeling of being so downtrodden and yet wanting to get back at those who frighten them. Which brings me onto my next point of interest. Now no review of this film would be complete without a shout out to the justly celebrated prom sequence when Carrie is pushed over the edge with no way back. Utilizing an assortment of techniques( eerie yet tense slow motion, the maximizing of particular sounds and striking split-screen) the results of the scene are simply haunting in how chilling and precise everything is, as Carrie turns the prom into a bloodbath. I could wax lyrical about this forever but the review can’t be a full on essay. All that’s left to say is De Palma is the masterful composer behind the detailed and shocking scene that leaves a big imprint on the mind, and won’t be forgotten for a long time after the movie finishes. Carrie adeptly straddles the tropes of a perceptive high school drama with horror that grows to a jaw-dropping finale, confirming it as a horror film that deals with real life social issues compassionately. The pace of it is just right, building up to the climatic snapping of Carrie’s mind with assurance and some cleverly ironic foreshadowing. And the score is purely amazing in every aspect of the word. Pino Donaggio works wonders as he covers all the emotional ground of Carrie, while bringing in by little nuances, the suspense and shocks that will eventually ignite. You couldn’t have asked for a better score for this film than the lyrical and haunting one it sports.

Sissy Spacek represents the tormented soul of the film with a natural and sympathetic performance. There are times when she is so authentic that it doesn’t seem like she is acting at all, so sincere and expressive in her interpretation of Carrie’s anguish and victimized mind. There is simply no one who could have been so convincing in the part and use their eyes to both moving and unnerving effect, particularly noticeable in the prom sequence when Carrie’s powers come into full force. Piper Laurie is wildly and suitably over the top as Carrie’s crazy mother, who puts fear into her heart and also the audience’s. She really goes for the unrestrained and frightening approach that is superbly played like a pro, which of course Piper Laurie is. This is the mother of your nightmares, and has to rank as one of the most unhinged to hit the cinema screen. In her movie debut, Amy Irving strikes the right notes of guilt-ridden shame and atonement for her actions in a quiet but evocative way. Nancy Allen stars as queen of nasty and vicious Chris, and you can’t fault her performance because you genuinely loathe this character. Betty Buckley is a supportive presence as the kind Miss Collins, while William Kitt displays a sensitivity as Sue’s boyfriend who is persuaded to ingratiate Carrie to the prom. And of course, there is a very young John Travolta, who successfully plays the none too bright boyfriend of Chris who is pulled in to help her exact her shocking prank on the title character.

A dazzling horror and cautionary tale of how you should think about the treatment of others, Carrie is rightfully iconic and cuts deep on a lot of levels.

1408

Tags

1408, 2000's, Horror, John Cusack, Mary McCormack, Mikael Håfström, Psychological Horror, Samuel L. Jackson, Stephen King

Film Title

1408

Director

Mikael Håfström

Starring

• John Cusack as Mike Enslin
• Samuel L. Jackson as Gerald Olin
• Mary McCormack as Lily Enslin

Based on a Stephen King short story, 1408 creates an eerie and genuinely unnerving ambience that finds horror in the psychological mould thanks to a welcome lack of gore.

Mike Enslin is an author of books based around the occult and paranormal. His shtick is to visit supposedly haunted places and debunk whatever is allegedly creepy there. He is a cynical and sardonic guy who finds the whole supernatural thing to be nothing more than an attempt to make a profit, but there is something that keeps drawing him to these locations. In his mail, he comes across something that references a room 1408 at The Dolphin Hotel in New York. Curious about it, he checks into the hotel. The manager of it Gerald Olin, sternly warns him not to check into the room under any circumstances. In the hotel’s history, there have been multitudes of unexplained deaths attributed to the room.  Mike scoffs at Olin’s claims and by threatening legal action, forces his hand to let him stay. Once in the room, Mike sets about investigating the alleged paranormal activity. Nothing much happens at first, before little by little, a genuine terror and force takes over both Mike and the room. The clock in the room starts a timer from sixty minutes as well as continually playing The Carpenters ‘We’ve Only Just Begun’. The temperature plummets to freezing levels. Strange phone calls are put to the room. Probably most alarming are the spectres from the room’s past that begin accosting him and the eerie presence of his deceased daughter taking up residence to torment him. And when he tries to exit the room, he finds that every possible way out is not there and he is now locked in a desperate battle to survive something that he viewed as impossible at the start. Now fearing for his sanity, just how long can he hold on as the presence in the room grows powerful and more startling?

On directing duties there is Mikael Håfström, who delights in bringing an old-fashioned style horror to the screen and terrifying us without cheap gore. Employing some excellent camerawork of tight close-ups and the occasional jump, Håfström is adept at making psychological terror. He sets up the character of Mike very well. He must do battle with his own demons that the room brings to life, adding an emotional slant to the character and it deepens the tone of the movie. The slow build up of 1408 is key to its creepy success. Mikael Håfström knows how to begin with a sense of icy restraint and then crank up the encroaching dread as Mike becomes ever more disturbed by the phenomena he experiences in the eponymous room. The room is almost a character in itself as the events transpire for most of the film’s duration in it. We are never explicitly told what it is that is in the room, just that it is something of a presence. I respected the movie for not going on the obvious route and revealing everything, opting to leave it up to us to fathom what truly resides in 1408. Creepy moments abound(a lot of the time due to the golden tinge and menace of the cinematography) not least Mike’s desperate attempt at escape out of the window that reveals that there are no rooms on either side. Or are there? Then there is the frantic spinning of delusion as Mike thinks he’s beaten the room but is dragged right back into it in a hair-raising set piece. Now I must state that 1408 goes a bit overboard in the last half thanks to a flurry of constant CGI. While it is a bit distracting, the finely crafted terror of the rest of the picture manages to bring 1408 back to greatness and ensure that disaster isn’t allowed to set in. Except this flaw, 1408 is largely an imaginative and chilling exercise in old-school terror which allows it to stand out among the glut of gory horror films that have been found in the last decade or so. A simple story with ghoulish intent can have a bigger impact which 1408 craftily showcases with haunting intent. An echoing and reverberating score layers on the levels of suspense and unease for both the terrified Mike and us. Put that with a gloriously done sound effects, that isolate and then accentuate the noises and surroundings to terrifying effect and 1408 casts a nail-biting spell.

For a lot of 1408, it is mostly John Cusack by himself on screen. And it must be said he performs admirably and never loses the attention of the audience. Starting out as snarky and cynical, his attitude is eroded away as his deep-seated fears and his past that he has bottled up emerge to torment him. Cusack is superbly cast here and gives it all he has by charting the descent of this man who is forced to acknowledge things he didn’t think we’re real in terrifying situations. He is a veritable one man show for a lot of 1408 and his acting never fails to generate results. Samuel L. Jackson is also very effective in the smaller role of the frightened hotel manager. Jackson is an actor known for turning up the dial and rocking being manic, but here he underplays it with a sense of dignity and fear that is most befitting of the part. Mary McCormack plays Mike’s estranged wife in a few scenes, but is never really given a lot to actually do in the big scheme of things.

I wouldn’t say it is the best Stephen King adaptation( as there have been some pretty good ones) and the third act gets a bit over the top, but 1408 is still a deeply unsettling chiller that wonderfully favours atmosphere and plot over gratuitous violence. You won’t be sleeping soundly after viewing 1408 as it makes the hairs on the back of your neck stand to attention through its unusual spell.

Misery

Tags

1990's, Frances Sternhagen, James Caan, Kathy Bates, Lauren Bacall, Misery, Psychological Thriller, Richard Farnsworth, Rob Reiner, Stephen King

Film Title

Misery

Director

Rob Reiner

Starring

• James Caan as Paul Sheldon
• Kathy Bates as Annie Wilkes
• Richard Farnsworth as Buster
• Frances Sternhagen as Virginia
• Lauren Bacall as Marcia Sindell

A sterling and very unsettling adaptation of the Stephen King novel, Misery, as directed by the versatile Rob Reiner, gains great suspense and uneasiness from confident direction, a sinister score and an Oscar-winning performance from Kathy Bates.

Paul Sheldon is a successful author, most famous for his romance novels containing the character of Misery Chastain. Yet after writing so many books about the character, Paul has grown restless and wants to try other things in the more serious genres. He has just finished writing the manuscript for a new novel of a different vein while in the retreat of a Colorado lodge and plans to journey back to his New York home. As he drives though a fierce blizzard halts these plans and he crashes his car violently off the road knocking him unconscious. Trapped in his car as the blizzard rages on, Paul is rescued by Annie Wilkes, a former nurse who takes him to her house and tends to his injuries. When he wakes up, the seemingly friendly Annie makes him as comfortable as possible, while telling him that she is his number one fan. Annie is a homely and lonely woman who is slightly odd but spears to be relatively harmless in Paul’s eyes and he’s extremely grateful to her for saving his life. Annie promises that once the phone lines are back up,and working and the road is safe, she’ll take him to a hospital. Yet things turn very creepy very fast once Annie reads Paul’s latest Misery novel and finds out her favourite character has been killed off. Flying off the handle she shows her true frightening colours. She then reveals that she never called the hospital, so no one knows where Paul is and many presume him to be dead. Still bedridden and now completely terrified, he is for forced to comply with her demands of writing a new novel bringing the character of Misery back to life. Frightened for his life, he begins writing, all the while planning some form of escape from the disturbed Annie, who never wants to let Paul go and is so intensely obsessed by him and his work, that she will resort to the most brutal tactics to make sure he completes the novel she is forcing him to write. Meanwhile, the local Sherrif Buster, an old, seasoned pro begins searching for the missing Paul, convinced that he isn’t dead as everyone else seems to believe. Before, writing was just a way of making a living for Paul, but now in the desperate situation of prisoner under the obsessed and deranged eye of Annie, he is writing to save his very life.

The ever versatile Rob Reiner shoes flair for the psychological thriller genre buy focusing on events with the confined setting of Annie’s house, that becomes claustrophobic once her mania comes out. Reiner taps into the fear of entrapment and fanatical devotion that both palpably leap from the screen and increase the terror. Tension and chills are provided through zooming close-ups, particularly of a fearful Paul and a crazed Annie. These are used most effectively in the iconic scene of Annie hobbling Paul after finding out he has tried to escape, just thinking about that scene gives me chills. Just as entertaining as watching the terrified Paul attempting to escape is the battle of wills between him and Annie. He tries to reason with her, but is ultimately forced to give in to her demands for fear of his life. Annie basically becomes the role of a disapproving and demanding(plus very menacing) editor of Paul’s work, adding to a gleefully dark undercurrent of Misery. There are some impressive jolts of black humour and irony thrown into the mix that give Misery yet more of a twisted scope to work within and coil around with mounting intensity. While the film is filled with shots of snowy hills and landscapes almost from the off, the suspense-building score from Marc Shaiman lets the audience now that we are not in for a cosy ride with strings and brass mixing to chilling effect as Paul becomes at the mercy of the unhinged and devoted Annie.

James Caan, who from the roles I’ve seen him in often plays the hell raiser of the menacing type, flips it here successfully portraying the imprisoned Paul. He convincingly conveys the feelings of entrapment and terror that soon arise when Annie’s niceness vanishes. The main draw of the film is the super impressive and award-winning performance from Kathy Bates as the psychopathic Annie Wilkes. Essaying the mood swings of the character, from calm and homely nurse to enraged torturer who will stop at nothing to keep Paul with her, Bates registers on every level so well it is frightening to behold. There is simply no other actress who could have played the part of Annie with the creepy intensity of Kathy Bates and the Oscar she won for the role was well-merited indeed. Richard Farnsworth breathes intelligence and humour into the part of the searching sheriff who won’t give up and his performance is complimented by that of Frances Sternhagen as his sarcastic but helpful wife. Lauren Bacall appears in a small but memorable role as the concerned publisher of Paul’s work.

A chilling psychological thriller of shocks and squirms, Misery will have you most uncomfortable by the end due to the creepy factor that is built throughout it and the excellent work of the cast, in particular an unforgettable Kathy Bates as the devoted but extremely dangerous number one fan.

Needful Things

Tags

1990's, Amanda Plummer, Bonnie Bedelia, Ed Harris, Fraser C. Heston, Horror, J. T. Walsh, Max Von Sydow, Needful Things, Shane Meier, Stephen King

Film Title

Needful Things

Director

Fraser C. Heston

Starring

• Max Von Sydow as Leland Gaunt
• Ed Harris as Sheriff Alan Pangborn
• Bonnie Bedelia as Polly Chalmers
• J. T. Walsh as Danforth Keeton
• Amanda Plummer as Nettie Cobb
• Shane Meier as Brian Rusk

The dark forces of the Devil comes to a small town with malice in mind in this sadly sub par adaptation of the Stephen King book. It has a lot of promise and at least the actors keep you watching, but falters deeply because of how uneven it is , a long time and how it can’t decide on what kind of movie it wants to be.

The quiet and sleepy town of Castle Rock is changed when one day a mysterious man arrives. The man in question is Leland Gaunt; a sardonic and seemingly benevolent older man who sets about opening a shop. This shop, given the name Needful Things, is a cornucopia of objects that hold deeper  promise with the residents than they realise. As people flock to the shop, the objects seem to be just unusually perfect for each and every person as if expertly picked out for their personal longings. But Gaunt is not interested in making a profit of his stock as he charges ridiculously low prices for his produce. Instead, the crafty man has his customers play tricks on others as a way to pay him back. At first, the playful pranks are somewhat amusing but as time goes on they morph into much darker deeds. This arouses the suspicions of the decent Sheriff Alan Pangborn, who seems to be the only person able to resist the allure of the shop that promises wonders to every resident of Castle Rock. Bewildered by the events surrounding him, he digs into the past of Gaunt and discovers that he may not be human at all. As the town is torn apart by violence, murder and unrest, it is up to Alan to bring down Gaunt, who is enjoying manipulating the ordinary people of the town into shocking acts of horror and carnage, all for the desired trinkets he entices them with.

Needful Things is one of those movies that has some good ideas but can’t quite put them across successfully on the screen. The main fault lies with the direction from Fraser C. Heston. He can’t quite make his mind up on whether he wants Needful Things to be a grisly supernatural horror or a fantasy stuffed with black comedy. There are only a few moments that really work in the film, but the rest is not thrilling, scary or darkly amusing in the slightest. The story itself could have been extremely intriguing with the subject of what people are willing to do when tempted by their heart’s desire, but a weakly written script stops any chance of that. Which brings me on to the next flaw which is the pace and running time. Now I don’t mind long movies as long as they keep me entertained, sadly Needful Things drags like a snail and becomes something of a chore to view. Everything about this movie just seems to take way too long to get going and when it does, it is too late to make up for the flaws in pacing. The score which does bring something of a fiendish quality to the dark events provides at least some sense of tone, yet it feels overly bombastic and doesn’t gel with the story.

The one thing that shines in Needful Things and stops you from switching the movie off is the cast assembled. As the devil in disguise whose benevolent demeanor and welcoming air entices curious customers to their doom, Max Von Sydow is obviously having a good time. And it must be said he contributes a charming but very sinister presence to the film that brings at least some effectiveness to proceedings. Ed Harris is very good( then again, when isn’t Ed Harris good?) as the honest but firm Sheriff who is the first to see the wicked game being played by Gaunt. It is then up to him to prevent further destruction as he goes up against the devil incarnate. Bonnie Bedelia does just fine in an underwritten role as the love interest, bringing just the right amount of sweetness to the part to cover up how undeveloped the character is. Then there is J. T. Walsh, quite effective as the slime ball boat salesman who gets his comeuppance by becoming the loyal servant of Gaunt. Standing out in the cast is Amanda Plummer, all nervous tics and wide eyes as the kooky but vulnerable baker Nettie, whose good nature is turned to murderous rage. She isn’t in the film for long, but she makes an impact on it and lends some creepiness to this film that is devoid of it. As the 11-year-old kid who is the first to encounter the evil of Gaunt, Shane Meier does a credible job at showing how his innocence is ultimately manipulated into something darker.

Neither particularly scary or engaging, it’s only a commendable cast that keeps Needful Things afloat. And even with the talented cast, it isn’t enough to make a great movie and sadly it becomes one of the not so good King adaptations.

The Shining

Tags

1980's, Danny Lloyd, Horror, Jack Nicholson, Philip Stone, Psychological Horror, Scatman Crothers, Shelley Duvall, Stanley Kubrick, Stephen King, The Shining

Film Title

The Shining

Director

Stanley Kubrick

Starring

• Jack Nicholson as Jack Torrance
• Shelley Duvall as Wendy Torrance
• Danny Lloyd as Danny Torrance
• Scatman Crothers as Dick Hallorann
• Philip Stone as Delbert Grady

The Shining is a deeply intense and atmospheric film from the talented Stanley Kubrick. Based on the book by horror author Stephen King and featuring a terrifying performance from Jack Nicholson, The Shining burns itself into the memory with haunting visuals, unsettling score and eerie story.

Jack Torrance is a former schoolteacher who in the opening scenes of the film applies for a job as the off-season caretaker at the Overlook Hotel, which is situated in Colorado. Because of the often bitter winters, the hotel is often cut off from the outside world. Jack believes this is what he needs as he is attempting to write a book and wants some isolation to concentrate on his work. He is warned however about the sinister events that occurred with the last caretaker, Delbert Grady. He was a mild-mannered man who because of the intense cabin fever he experienced was driven insane and proceeded to murder his wife and two young daughters with an axe, before unloading the barrels of a gun into his head. Undaunted, Jack brings his meek wife Wendy and young son Danny to the hotel after receiving the job. Upon arrival, the hotel cook Dick Hallorann notices something about the young Danny. Danny has what he calls ‘The Shining’ which is the ability to see events in the past as well as the future. Danny’s knowledge of what has happened and will happen manifests itself as an imaginary friend called Tony. Danny, out of his family is the first to come into contact with the haunting presence of former misdeeds as creepy visions float through his mind. Jack, who we learn is a recovering alcoholic and abusive man, also starts to disintegrate as his tenure at the hotel goes on, until he descends into full-on madness from which no one is safe.

Stanley Kubrick is at the height of his cinematic powers directing this eerie piece of psychological terror. He gives The Shining an atmospheric and ambiguous pulse that reaches out and sucks the viewer in with spellbinding menace. Ever the craftsman, Kubrick employs gliding camerawork to show us the sheer scope of the hotel and the sinister sets of events that keep replaying. Kubrick manages to successfully blur the lines between what is real and what is not and he does this with assured skill and unsettling pace. What I’ve always admired about The Shining, is the use of repetition. The repetition of certain phrases, the repetition of visions and mirrors gives the film a deeply unsettling sense of disturbed and subtle horror. Memorable scenes abound in this film from the cascading river of blood that emerges from an elevator, the ghosts of the dead girls dressed in identical clothes beckoning a terrified Danny to play with them “forever and ever” and not forgetting Jack, axe in hand, roaring “Here’s Johnny” as his terrified wife Wendy almost crumbles in hysterics. An ominous score perfectly accentuates the encroaching horror that engulfs the family during their stay at the hotel with ghostly piano, sinister synthesizers and doom-laden strings .

Jack Nicholson is outstanding in the role of Jack Torrance, whose already fragile grip on reality begins to fall away as he becomes victim to the hotel’s past. Filled with wild-eyed mania and imposing stance, Nicholson creates an unforgettable portrait of mental disintegration. Shelley Duvall encompasses the simpering, meek and mousy personality of Wendy, who almost too late begins to see what her husband has become and has to fight to survive his spiral into madness. The young Danny Lloyd brings a certain level of maturity to the character but shows that despite his knowledge of what is going on, he is still a terrified child. Scatman Crothers brings a wise side to the role of the hotel cook who also possesses the same gift as Danny, while Philip Stone sends shivers down the spine as the ghost of the former caretaker, who coerces Jack into committing violent acts.

From the stunning opening shots to the chilling last frame, The Shining is an unforgettable film of psychological terror.

 

Stand by Me

Tags

1980's, Coming-of-Age, Corey Feldman, Drama, Jerry O'Connell, John Cusack, Kiefer Sutherland, Richard Dreyfuss, River Phoenix, Rob Reiner, Stand by Me, Stephen King, Wil Wheaton

Film Title

Stand by Me

Director

Rob Reiner

Starring

• Wil Wheaton as Gordie Lachance
• River Phoenix as Chris Chambers
• Corey Feldman as Teddy Duchamp
• Jerry O’Connell as Vern Tessio
• Kiefer Sutherland as Ace
• Richard Dreyfuss as Adult Gordie
• John Cusack as Denny Lachance

Based on a Stephen King novella, Stand by Me is a seminal coming-of-age tale that is filled with humour, pathos and the nostalgic longing for the adventures of childhood.

After reading of the death of a childhood friend, a writer named Gordie Lachance begins to recall an eventful summer adventure with his friends back in 1959 Oregon. We flashback to this time and are introduced to the main characters, four twelve-year old boys. Gordie is a quiet and sensitive young boy who is struggling to cope following the death of his older brother. He has a gift for writing but his strict father who always preferred his older brother berates him for it and neglects him constantly. Gordie finds solace in the company of his friends. The rest of the group comprises of Chris Chambers, a natural leader who is from a family of criminals and often suffers the stigma surrounding this; Teddy Duchamp, a funny but internally troubled boy who is scarred from an incident when his father held his ear to the stove and Vern Tessio, a chubby tag along who is often picked on for his appearance and scared personality. Vern overhears his brother revealing the location of the dead body of a local kid who has been missing for a while. Curious about this, Vern informs his friends and they decide to search for the body, hoping they will get money and fame if they discover it. Hiking through the woods, the four friends go through a journey of self-discovery all while trying to find the body before Ace, the vicious local bully can find it and claim a reward.

Rob Reiner directs with a lyrical eye for detail, capturing the wildlife beauty of the Oregon woods and the boyhood exuberance of going on an adventure with your friends. He also creates fully rounded characters who we can all relate to in one way or another. The four boys could be any group of friends and this quality gives the film a touching sensitivity. The childlike sense of adventure is both funny and poignant as we watch them laugh, go through mishaps such as dodging an oncoming train and falling into a swamp infested with leeches and begin to grapple with mature issues of adulthood. A well-chosen soundtrack of 50’s classics gives the film a brisk edge and the fleeting sense of innocence beginning to be lost as the boys journey deeper into the woods by following train tracks. For me, it is the little things that make Stand by Me such a nostalgic and bittersweet watch. Gordie observing a young deer and deciding to keep the memory to himself, Vern and Teddy singing along to ‘Lollipop’, the campfire debate surrounding what animal Goofy is and the boys running away from Chopper, supposedly the most feared dog around who is far from it. I don’t think I’ve seen a film that evokes the feelings of growing up and the various issues surrounding quite as well as Stand by Me. And it does it all without being sentimental, it instead gives us many life lessons and captures the innocence of childhood in all its awkward and strange glory.

The four leads in Stand by Me all contribute believable and relatable performances. Wil Wheaton combines maturity with vulnerability to get to the heart of Gordie, who feels as if he’s in the shadow of his deceased brother. River Phoenix is particularly touching, soulful and intense as Chris, who fears he won’t succeed in life because of the prejudice aimed towards him as a result of his familial ties. Corey Feldman is funny and manic as the scarred Teddy, whose often smiley demeanor hides the pain of his experiences with his father. Rounding out the quartet is Jerry O’Connell as the lovable and timid Vern, who often says things that cause his friends to roll their eyes but who has an earnest and caring heart when it comes to his friends. In other roles, Kiefer Sutherland is menacing as the town bully who delights in tormenting those who aren’t as strong as he is. Richard Dreyfuss utilises his commanding voice as he narrates the adventures of his youth with maturity and wisdom. John Cusack, in flashback, portrays Gordie’s deceased brother whose death has left a void in his life.

Nostalgic, poignant and filled with charm, the joys of Stand by Me still resonate to this day and will probably live on for a long time because of its moving story and wonderful performances.

Dolores Claiborne

Tags

1990's, Christopher Plummer, David Strathairn, Dolores Claiborne, Jennifer Jason Leigh, John C. Reilly, Judy Parfitt, Kathy Bates, Mystery, Stephen King, Taylor Hackford

Film Title

Dolores Claiborne

Director

Taylor Hackford

Cast

• Kathy Bates as Dolores Claiborne
• Jennifer Jason Leigh as Selena St. George
• Judy Parfitt as Vera Donovan
• Christopher Plummer as Detective John Mackey
• David Strathairn as Joe St. George
• John C.Reilly as Constable Frank Stamshaw

Based on the novel by Stephen King, Dolores Claiborne is a sombre and compelling mystery headlined by a superb performance by Kathy Bates. Evocatively scored by Danny Elfman and featuring an interesting flashback structure, Taylor Hackford has created a chiller that leaves you guessing till the very end.

On a coastal town in Maine, hard-working and tough-talking housekeeper, Dolores Claiborne is accused of murdering her elderly employer Vera Donovan. The chief detective, John Mackey, heads the investigation into the suspicious death and harbours a desire to imprison the woman as he believes she murdered her abusive husband Joe 20 years ago. Soon after, Dolores’s daughter Selena arrives to support her mother. Selena is a succesful writer struggling with a drink problem and suspicious of the events surrounding both Vera’s death and her father’s. Dolores hasn’t seen her daughter for years and attempts to get through to her, even though her daughter is unsure of her mother’s plea of innocence. Through the use of a flashback structure, subtle incidents in both of the women’s lives are revealed and we begin to understand more about them and their strained relationship with each other. Is Dolores innocent of the crime? Or is she in fact a double murderer? You’ll have to watch the film to find out.

Kathy Bates, starring in her second adaptation of a Stephen King novel after her Oscar-winning role in Misery, fixes the attention and steals the show as the title character. She at first appears to be a stony, bitchy woman, but as the mystery begins to unravel, she is shown to be something quite different. She is a tough woman, wounded by life but not beaten yet and Bates embodies the worn-down but still resilient spirit of the title character effortlessly. It truly is a testament to Bates’s ability that we are never sure if Dolores is well and truly innocent of the crime until the finale. Ably supporting her is Jennifer Jason Leigh as the suspicious and sullen Selena, who is never truly convinced of her mother’s innocence but forced to confront her own painful past in the process. Christopher Plummer savours his role as a resentful but motivated detective who will stop at nothing to make sure Claiborne is imprisoned. David Strathairn, seen in flashback as the abusive husband of Dolores , helps set the secondary conflict in motion because of his menacing presence. Also seen in glowing flashback is the excellent Judy Parfitt, as the overbearing rich woman who becomes an unlikely ally to Dolores before her mysterious death. John C. Reilly also appears in a small role as a sympathetic constable investigating the case.

Visually, Dolores Claiborne creates a chilling atmosphere, shading the Maine town in which Claiborne resides in blue and grey. This is counteracted by luminous flashbacks, bathed in an almost sepia tone, showing the ugliness that lies beneath a happy facade. Danny Elfman’s melancholy score accentuates most of the scenes with a sombre and evocative expression of suspicion and delving into the shocking past of the main character for answers.

Dramatic, enigmatic and enthralling, Dolores Claiborne is a mystery that grabs you from the opening frame and refuses to let go.