George A. It stars Timothy Hutton as a meek literary author whose unhinged crime-penning pseudonym also Hutton manifests into reality and tries to take his place—violently, if necessary. Jekyll and Mr. Hyde has a few logic holes, but once you buy into the magical notion of a fictional persona coming to life, the exploration of self-destructive impulsiveness vs.
We all have those sides to ourselves, and they are in constant battle; King and Romero just made that fight literal. Much of the supernatural horror comes from the demonic vehicle hunting down his enemies, like the bullies who sexually humiliate Arnie and then defile his ride. Carpenter gets that this is a story about possession, in all its forms.
King himself acknowledged the risk of writing a sequel to a book as beloved as The Shining, and the pressure was twofold on filmmaker Mike Flanagan, who also had to work in the immense shadow of Stanley Kubrick.
That Flanagan succeeded so beautifully is a miracle—and he did it by focusing not on the horror of the Overlook Hotel, but on the damaged soul of Danny Torrance himself now played by Ewan McGregor. Mike Flanagan again directed a King adaptation that many considered unfilmable. Then he drops dead from a heart attack, leaving her stranded with no hope of outside rescue.
The journey into her memories reveals even darker moments from her past, making this not just a tale of claustrophobic terror, but an emotionally shattering story of survival at all costs.
The monster of this story is actually its hero: Carrie is a meek girl who is brutalized by her mother at home while also being relentlessly tormented at school. Carrie is a vengeful story of karmic comeuppance. Most bullies get away with it—but this time, everyone pays the price. Human beings—most of us, anyway—are hardwired to suss out a predator. Christopher Walken stars as a man with psychic powers who can see that a blowhard populist politician Martin Sheen will bring chaos and destruction with him to the White House.
He also knows—knows for certain—that this will lead to the end of the world. But what can he do? Show all 78 episodes. Under the Dome TV Series based on the book by - 26 episodes, - book - 13 episodes, written by - 1 episode, - The Enemy Within Show all 39 episodes. Short story written. Again Video characters. Show all 7 episodes. Hide Show Producer 15 credits. Show all 26 episodes. Show all 13 episodes. Hide Show Actor 27 credits. Stephen King voice. Diner Patron uncredited.
Diner Patron. Goode - Finale Johnny B. Pizza Delivery Guy uncredited. Brian voice. Gage Creed. Tom Holby. Teddy Weizak. Bus Driver. Hide Show Soundtrack 1 credit. Hide Show Camera and Electrical Department 2 credits.
Hide Show Additional Crew 2 credits. Hide Show Director 1 credit. Hide Show Thanks 46 credits. Butters Syndrome Short special thanks. Hide Show Self 69 credits. Self - Guest. 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.
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. 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. It's one of the better horror movies about the insidious power of temptation. Dale Midkiff and Denise Crosby hold their own as the couple mourning their soon-to-be-resurrected child, while Fred Gwynne creates an indelible horror icon as their too-helpful neighbor Jud.
The remake of "Pet Sematary" is just about on par with the original, with a few notable changes that keep the story feeling relatively timeless but not entirely familiar. Carla Gugino and Bruce Greenwood play a married couple looking to rekindle their sex life, but when he handcuffs her to the bed and then falls down dead of a heart attack, their weekend getaway becomes the ultimate nightmare.
Gugino gives a tour-de-force performance, and Mike Flanagan's smart and intense direction makes every moment feel like an important piece of a puzzle.
Some argue that the ending goes on too long, but without the extended denouement, our hero's journey would mean so much less. And it's that engrossing journey that makes "Gerald's Game" one of the best King adaptations. Dolores Kathy Bates is accused of a brutal murder, and when her estranged daughter, played by Jennifer Jason Leigh, investigates, she discovers layer after layer of repressed and traumatic memories.
Taylor Hackford's impressive mystery gives Bates and Leigh complex, nuanced characters, and they make the most out of every scene. John Carpenter's King adaptation stars Keith Gordon as a high school nerd who buys a beat-up Plymouth Fury and becomes obsessed with it. Little does he realize the car is also becoming obsessed with him. A warped and wicked tale, with a boss soundtrack, excellent performances, and some of the best practical visual effects around. The scene where the titular car repairs herself is legendary, and the scenes where she hunts down her enemies are pure terror.
Mike Flanagan's ambitious and challenging adaptation of King's sequel to "The Shining" has the unenviable task of finding common ground between the original novel and Kubrick's loose adaptation. Somehow it works: Ewan McGregor plays Danny Torrance, all grown up and wrestling with substance abuse just like his father. And why King? King has so much source material to choose from that screen adapters seemingly have an endless supply.
If the stories that King creates come with their own built-in fanbase that he has garnered over the years, these fans are bound to generate a certain amount of box office sales. However, authors with the same voluminous bibliography often write stories that are shockingly similar and formulaic to one another.
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