Doctor Sleep 2019 ****

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‘When I was a kid, I didn’t understand the shining,’ says Danny Torrance (Ewan McGregor) in Mike Flanagan’s adaptation of the novel by Stephen King. It’s a fair point; I saw The Shining when I was 12, and was chilled, filled with dread, hugely impressed, but also genuinely didn’t quite understand what I’d just seen. Stanley Kubrick’s film has since been much discussed and dissected, with many fanboy and conspiracy theories about the possible meanings, and that elusiveness it a key part of the haunting appeal. The biggest problem Doctor Sleep has is that, by positioning The Shining as part of a larger story, the meanings are nailed down and the sense of mystery is palpably reduced.

That said, Doctor Sleep is probably the best adaptation of King’s work since 1980, and a lot more faithful to the letter of his writing. Young Danny is seen getting advice from Dick Halloran (Carl Lumbly) about how to put his demons to rest, imagining a series of boxes into which his fears are captured and forgotten. But Danny has demons of his own, and his battle with alcohol mirrors that of his father Jack. Danny starts life in a new town, but his ‘shining’ creates a connection to Abra, a young girl with a similar gift. Meanwhile, a new plotline details the antics of Four Non Blondes-influenced vampire Rose the Hat (Rebecca Ferguson) whose crew require the ‘steam’ of innocent young victims to survive. Rose has designs on Abra, and Danny is torn between his fears of his past and his desire to help the young girl.

Flanagan is something of a whiz with post-modern horror; his Ouija: Origins of Evil showed he could take rote characters and plot elements and fashion something fresh and memorable from them. And his Haunting of Hill House tv show brilliantly used the original Shirley Jackson novel as a base for a much more expansive but spiritually connected story. He was the perfect choice for the film, and does well to create a work that’s faithful both to King and Kubrick; fans of The Shining in all its incarnations will know that Halloran’s fate differs in the film to the book, but Flanagan cleverly fudges whether the character is alive or dead as the story starts. He clearly enjoys working in the Stephen King meta-verse, and Doctor Sleep also links ingeniously with many of King’s preoccupations.

Kubrick famously cut many of the supernatural elements from King’s novel, and created something suggestive, grim and foreboding. Flanagan and King have repurposed many of the familiar elements as part of a new and very different story, one that riffs neatly on the original property while going off in a fresh direction. McGregor gives probably the best performance of his career as Danny, wrestling with his demons in some depth, while Ferguson is a slippery foe in Rose. Doctor Sleep can’t aspire to be the game-changer that Kubrick’s The Shining was, but it’s a styling, entertaining sequel that thrills and chills on route to a satisfying finale that brings back the many demons of the bad place for one more chilling go-round.

 

The Dead Zone 1983 ****

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Stanley Kubrick’s The Shining proved to be a game-changer in terms of horror, with a major director transforming a genre tale into something at once more mainstream and also more arty. Adaptations of Stephen King’s work that followed were a mixed bag, but the property seemed to drive the project, and major talents like John Carpenter mixed with accomplished journeymen like Mark L Lester and Lewis Teague. For David Cronenberg, fast becoming a major name in horror, taking on a King project was a promising idea, and The Dead Zone establishing a number of cinematic tropes that have stuck.

The setting, of course, is Castle Rock, and the central character Johnny Smith (Christopher Walken) is a man out of time, left in a five year comatose state by an accident, and emerging from the fringes of life and death, a magnet for bad things happening like Henry Deevers in the Castle Rock tv show. On his hospital bed, Smith sees a nurse’s house burning down with a child inside, and a boy he tutors will fall through cracking ice at an ice-hockey match. Smith has a gift for precognition, and with the help of a doctor (Herbert Lom), he is able to use his gift to stop these deadly events from happening, as well as helping local police to track down the Castle Rock Killer. An encounter with a crooked politician provides the climax here, with Martin Sheen reversing on the JFK character that was his 1980’s signature role.

The Dead Zone has an effective, wintry feel, bolstered by Walken’s wonderfully off-beat characterisation of Johnny. Castle Rock is shown as a bad place in various ways, with crooked politicians and businessmen, sick, twisted individuals on the loose and a decaying set of morals. And the ending packs a punch; rather than the every-increasing circles of horror featured in the Castle Rock tv show, Cronenberg nails the story down to one brief, satisfying plot twist.

The Dead Zone has a few nasty details, but it’s generally a classy, accessible horror film that’s gained in richness over the years. Many of the ideas contained here have become clichés, but Cronenberg’s restrain and visual austerity are nicely matched here by King’s ability to conjure up the inner lives of the Castle Rock denizens.

Cujo 1983 ****

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What’s so good about Stephen King’s killer dog movie? In Stephen King’s book Danse Macabre, the author writes persuasively about the 1979 version of The Amityville Horror, and a scene in which a sum of money goes missing from the Lutz family. He writes about how, rather than the flies and the axe attacks, it’s the financial horror that the Lutz family experience that really grounds the film, and King’s own ability to ground a horror conceit in domestic purgatory is very much to the fore in the film of Cujo.

Cujo is, famously, the killer dog featured here, but there’s no much Cujo in the first half of Lewis Teague’s film, bar an intro which shows the mutt being bit on the nose by a rabid bat. Instead, Teague’s film gets into the minutiae of one particular cell of the Castle Rock organism; Donna (Dee Wallace) has decanted from New York, her husband Vic (Daniel Hugh-Kelly) who is struggling with an advertising account gone rogue. Meanwhile her lover Steve (Christopher Kemp) beats her husband at tennis, runs down the street shirtless and doesn’t take it well when Donna dumps him.

If that’s not enough, we then get into Donna and Vic’s car trouble, and their attempts to get their shonky Ford Pinto into shape, which involve mechanic Joe Camber (Ed Lauter) and his family. All of these characters are extremely well described, and as a film, Cujo generates a heap of suspense before working out exactly how Donna’s life is going to fall apart. If there’s not much Cujo in the first half, the second half is all Cujo, and Donna and her son are trapped agonisingly in the confines of the Pinto while the rabid dog rampages outside.

If audiences were perhaps overwhelmed by the intensity of the latter stages of the story, the not-quite-terrifying dog make-up, or the less than satisfying ending, the majority of Teague’s film is way ahead of its time, respecting King’s characters and setting, while doubling down on intensity. Before he became a notable directorial talent, Jan De Bont does a great job with the look of the film, making something iconic of Donna’s Pinto in the abandoned yard and predating his excellent work on Die Hard amongst other films.

The name Cujo is still often bandied around when naughty dogs are mentioned, and Cujo the movie is probably ripe for a CGI-heavy remake; if anyone goes down that road, it would be ideal if they constructed the long, careful, patient build-up Teague manages here. Cujo the dog seems to feed off Castle Rock’s bad energy, and there’s far more to King’s story than just a woman in peril.

It: Chapter Two *** 2019

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Even after a summer of diminishing returns, It: Chapter Two’s box-office take for the opening week was some $40 million less that the first film, a result that reflects that most of the best bits of the Stephen King novel had already been used up. Having separated the children and adult versions of the Losers club, the It movies did a great job of conjuring up the golden version of childhood, and a non-existent job of evoking the autumnal feel of the book’s adult section. Flashbacks to the kids menaced by Pennywise the dancing, child-eating, gay-baiting clown create nostalgia, but don’t move the narrative forward, and instead feel like inessential deleted scenes from the first film, diverting Andy Muschietti’s sequel from its purpose. Other less-than-vital add-ons include cameos from master of horror Stephen King and, erm, Peter Bogdanovich, while many of the weaker scenes from King’s novel are transferred verbatim. A running gag about books with bad endings sets up a different finish from King’s original, and while this is better than the giant spider featured in the tv show, it’s not great either. All this said, even with a drop-off in quality, It; Chapter 2 is a more than watchable horror film, with some effective scares and just enough momentum to carry it over the finish line despite bland work from the leads. Only Bill Hader really finds a groove as the older version of Eddie; his self-loathing adds a dimension of horror that Pennywise, reduced here to a Freddy Kruger punchline-artist, struggles to find in the final instalment.

The Dark Half 1993 ****

Stephen King’s writing is so cinematic, it’s frustrating how easily film-makers are seduced into altering his words, structures, characters and themes. George A Romero was a friend of the author, and his adaptation of King’s The Dark Half is an underrated horror film that’s got both a pulp fiction sensibility but also a playful literary intelligence. Timothy Hutton is developing into a real horror icon post Haunting of Hill House; here he delivers two memorable performances as writer Thad Beaumont and someone claiming to be his pseudonym George Stark. The word pseudonym is tentatively used here, since a big part of The Dark Half’s appeal is working out who or exactly what George Stark is; lawman Alan Pangborn (Michael Rooker) is as baffled as everyone else as he tries to solve the murders the plague Beaumont and his wife Liz (Amy Madigan). Beaumont does not know that as a child, the foetal remains of an undeveloped twin were removed from his brain; how this might have led to an evil twin figure isn’t fully explained, but the suggestion of Beaumont’s colleague Reggie (Julie Harris) is that Beaumont has somehow willed this Dionysian figure into life. There isn’t room for the two of them on this earth, and the gatherings of sparrows that appear in the Maine skies, specifically in the Castle Rock area, suggest that the devil is ready to drag one of them to hell. The Dark Half was reportedly King’s last work before he sobered up, and it’s easy to see why he’s get on the wagon. There’s a dangerous, self-destructive theme here about a writer too willing to delve into the deepest, darkest areas of his psyche; in King’s book, fictional protagonist Alexis Machine’s rampages set the violent, nihilistic tone. Romero gets it, and fashions a perceptive look at the dualism inherent in the male psyche, with Hutton doing an incredible job to evoke both men, and Romero not afraid to make the horror scenes genuinely horrific. Various financial reasons stopped The Dark Half from reaching an audience, but it’s one of Romero and King’s best. It also bears remarkable resemblances to Bret Easton Ellis’s novel Luner Park, which doubles down on the roman a clef notion of an author plagued by his own creation. The Dark Half fuses elements of Frankenstein and Dr Jekyll myths and comes up with something dark and disturbing; hopefully the current (2019) vibe for all things King will attract the audience it deserves on streaming.

The Dark Tower 2017 ***

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You don’t have to be a racist to think that Idris Elba would be an awful James Bond; it’s pretty much only people who haven’t seen him in much since The Wire 15 years ago that genuinely believe this. If anything it would be helpful to have large-scale public screenings of his unexceptional performances in films like Bastille Day, Molly’s Game or The Dark Tower to remind audiences that he’s not only too old for a reboot, but just doesn’t have the chops for the big screen. Daniel Kaluuya would be a better fit for the role of Bond, and it’s embarrassing to hear Elba trotting out this same sad story every time he’s got something to promote. In The Dark Tower, a misbegotten Stephen King adaptation, Elba’s lumpen performance as gunslinger Roland Deschain is buried amongst a slew of chaotic elements; a massive novel reduced to 95 paltry minutes, a PG -13 certificate, the focus switched from Deschain to an 11 year old boy Jake Chambers (Tom Taylor) who discovers a parallel universe behind NYC exteriors, constant references to other texts in the King multiverse that go for nothing. Producer Ron Howard has noted that The Dark Tower should have been a tv show rather than a film, and he’s right; what tips Nicolaj Arcel’s adaption into unfortunate legend is the truly awful performance of Matthew McConaughey as Walter Padick, supposedly the embodiment of evil but plays with such misguided elan that his every appearance provokes mirth. The Dark Tower is a good/bad classic, an unwieldy adventure that never lands a coherent idea, making fools of the high-priced talents involved.

Stranger Things 1-3 2016-2019 ****

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The brightest jewel in the Netflix crown is the Duffer Brothers riff on the kids sci-fi genre that apes Stephen King and various 80’s horror fads; with the latest series (3) taking place largely at a 4th of July carnival, Stranger Things is a cross-generational funhouse that, according to Netflix’s hall-of-mirrors figures, every sentient member of every household in the western world watched several times each within seconds of being put online. Stranger Things somehow found a sweet spot by fusing elements of King’s Firestarter (a girl on the run from authorities with telekinesis), plus the small-town kiddie-gang adventurers from It, then throws in the gelid alien attack from The Tommyknockers to boot. The big-draw name above the title name was Winona Ryder, although the series success has made pretty much everyone in the well-assembled cast a household name; Millie Bobbie Brown makes a big impression as Eleven, David Harbor exudes a gruff chemistry as police chief Jim Hopper, and the kids are great, with a smattering of 80’s names (Sean Aston, Paul Reiser, Matthew Modine, Cary Elwes) to keep older viewers engaged. As well as nailing the key font for the titles and the cod Tangerine Dream score, the key to the formula, kids and adults joining forces to fight to creatures leaking through government experiment portals, is that Stranger Things presents a warmly aspirational world, more focused on the likable characters than on the monsters. If the second series was too similar to the first, the third manages to balance up the gender issues and freshen up the team to good effect; Netflix need a dozen series that command loyalty like this to survive the streaming wars, so it’s likely that various expanded-universe incarnations of Stranger Things will be around long after the original lightning-in-a bottle cast have moved on.

https://www.netflix.com/watch/80057281?source=35