After the enormous critical and box-office success of It, director Andy Muschietti is at work on the sequel and has also made his interest known about helming a new adaptation of Stephen King’s classic novel Pet Sematary.
While it might seem strange for so many King properties to be trusted to a single filmmaker, the truth is that King’s work has traditionally been revisited numerous times by a small but loyal group of filmmakers over the years since 1976’s Carrie. From the one-two punch of Tom Holland’s “The Langoliers” and Thinner to the back-to-back Lewis Teague adaptations of Cujo and Cat’s Eye, filmmakers who found success with one of King’s works were often called upon to try and replicate that success.
This is a list of the top ten collaborations between Stephen King and writers, directors, and actors who have brought his frightening material to life:
10) Ed Harris, actor
A surprising name to pop up on the list, the mention of Ed Harris usually brings forth memories of an intense, physical performer and four-time Oscar nominee. His body of work ranges from the frightening (A History of Violence) to the tragic (Pollock) to the mysterious (Westworld), and he is remembered from his breakout performance in The Right Stuff.
However, King fans will remember him from a year earlier in Creepshow, reteaming with his Knightriders director George A. Romero. He played the ill-fated Hank, dancing, drinking, and being crushed by a tombstone in the “Father’s Day” segment.
It was eleven years later that he returned for another King adventure, playing the Sheriff of Castle Rock, Maine, in 1993’s Needful Things. Playing Alan Pangborn, the same character played by Michael Rooker in the same year’s The Dark Half, Harris plays the widowed protagonist trying to save his town from a villainous new store owner.
And, in a short but effective cameo, Harris pops up as General Starkey in the TV mini-series adaptation of “The Stand”. He recites William Butler Yeats’ famous poem “The Second Coming,” followed by a truly depressing character exit.
9) William Goldman, screenwriter
Generally recognized as one of the great screenwriters in the history of Hollywood, his most well-known scripts are nearly too numerous to list: Butch Cassidy and the Sundance Kid, The Stepford Wives, All the President’s Men, The Princess Bride, and the list goes on.
He’d already been writing for Hollywood for 25 years when he did his first King adaptation, providing the script for Rob Reiner’s Misery. Taut, merciless, and classy, the film was a huge hit and an Oscar winner. It provided a template for his next King adaptation, Hearts in Atlantis: a hit novel from King with few central characters, very little supernatural material, and a cast and crew of well-respected actors and filmmakers.
His third and, to date, final King adaptation broke his successful streak. Dreamcatcher was a challenging book to adapt, weaving a Stand By Me-style flashback narrative and a guys’ nature adventure in with a government thriller and an alien gorefest. The film didn’t fare well at the box office, and has only had one credited script to his name since its release.
8) Kathy Bates, actress
With a performance as chilling and memorable as Kathy Bates’ role of Annie Wilkes in Misery, it’s easy to forget any of her other performances, let alone the other ones she had in Stephen King movies. From Titanic to American Horror Story to About Schmidt, Bates’ performances are as different from each other as they are adventurous to begin with.
Though movie stars do appear on television now fairly frequently, it was not the case back in 1994 when a post-Misery Bates appeared as radio show host Rae Flowers in the TV mini-series “The Stand” (joining previous mention Ed Harris). Her role was a few short scenes with a shocking close, and her impact on the overall feel of the first chapter of the mini-series is strong.
However, the great unsung King performance from Bates is the brilliant Dolores Claiborne. Though not a horror film in content, the raw emotion and devastating personal revelations of the film make it as riveting and uncomfortable to experience as the toughest of King’s work, and though she won an Oscar for Misery, this might be the more impressive performance.
7) Mikael Salomon, director
Though Salomon is not a household name, his work certainly is. Having directed episodes of “Rome”, “Band of Brothers”, “Camelot”, and “Powers”, he brings quality and scale to many of the best cable TV series in recent years.
It makes sense that he would be chosen to helm the newest adaptation of “Salem’s Lot” in 2004. Though not an enormous hit, it was an effective version of the story, and it led to him directing two separate episodes of “Nightmares & Dreamscapes: From the Stories of Stephen King.” With each episode based on a separate King short story, it was like Salomon directed two mini-movies of King’s: “The End of the Whole Mess” and “Autopsy Room Four.”
Then, in 2014, Salomon took on an unconventional book from King for an unconventional venue for King: a feature film adaptation of “Big Driver” for the Lifetime network. Starring Maria Bello (also excellent in King’s Secret Window), the story revolves around a mystery writer who decides to investigate the unidentified man who raped her and left her for dead.
6) Craig R. Baxley, director
Craig Baxley had an unconventional trajectory to directing Stephen King films. His early career was in stunt performance and coordination, working on shows like “M*A*S*H” and “Police Story.” He worked his way up to second unit director on stunt-heavy shows like “The Dukes of Hazzard” and “The A-Team,” and started directing episodes of “The A-Team” from there.
He moved into feature action films with movies like Action Jackson and Stone Cold, eventually moving to a series of made-for-TV thrillers in the late 1990s. From there, he jumped to the first of his King works, the mini-series “Storm of the Century,” still arguably one of King’s best television works.
Three years later, in 2002, he directed all three episodes in the haunted house mega-mini-series “Rose Red,” melding his action and thriller past with a huge cast and elaborate effects. The mini-series was a big ratings success, and one year later, he also directed “The Diary of Ellen Rimbauer,” a prequel movie that told the dark history of the haunted house.
Baxley’s last collaboration with King was the fascinating but ill-fated series “Kingdom Hospital,” the creepy series based on the Lars von Trier mini-series. The series lasted only a single season, but had some indelible images and was a harbinger of the coming peak TV and horror booms currently filling televisions.
5) Frank Darabont, writer/director
Though he is known now as the man who brought “The Walking Dead” to television, Frank Darabont has had a long a fruitful relationship with other horror material, along with several King adaptations. Though his first feature film credit was co-writing A Nightmare on Elm Street 3: Dream Warriors, he actually started before that by making a short film version of a King story, The Woman in the Room.
It was not a horror film, but King considers it to be one of the best adaptations of his work. Darabont moved on to write scripts for The Blob remake, The Fly II, and many TV series scripts for “Tales from the Crypt” and “The Young Indiana Jones Chronicles.”
However, his feature directorial debut was King’s The Shawshank Redemption, a massive critical and commercial hit which also garnered seven Oscar nominations. He followed that film up with 1999’s The Green Mile, another non-horror prison film from King.
Darabont could only stay from horror for so long, though, and he returned in spectacular fashion with 2007’s The Mist, a beautifully shot, big-scale horror film with one of the most memorably devastating endings in recent film history.
4) Lawrence D. Cohen, writer
Not to be confused with maverick writer/director Larry Cohen (they’re often confused be Larry Cohen also made a King property, the theatrical sequel A Return to Salem’s Lot), Lawrence D. Cohen has the honor of having introduced film fans to Stephen King.
He wrote the screenplay for 1976’s Carrie, the first film to be made from a Stephen King story. The movie was a huge success, opening the floodgates to King adaptations for the next two decades. It would be another 14 years before he returned to another King property, this time creating the template for the King TV mini-series with the adaptation of “It” in 1990.
The ratings success of “It” led to him also adapting King’s “The Tommyknockers” as a mini-series. The series didn’t fare as well critically or in the ratings, but Cohen wasn’t done with King yet. He scripted “The End of the Whole Mess,” a standalone episode of “Nightmares & Dreamscapes: From the Stories of Stephen King” and, in an unprecedented situation, he also did a script polish on the 2013 remake of his 1976 original Carrie.
3) Jeffrey DeMunn, actor
Jeffrey DeMunn is one of the most recognizable character actors working in film and television. Though he may be known best now as Dale from “The Walking Dead,” he has appeared in everything from The X-Files movie to “Law & Order” to the Showtime series “Billions.”
He has had a long and fruitful relationship with director Frank Darabont, who cast him in “The Walking Dead.” Before that, DeMunn also appeared in all three of Darabont’s King adaptations, playing a district attorney in The Shawshank Redemption, a prison guard in The Green Mile, and a terrified resident in The Mist.
His most complex role in a King work was as town manager Robbie Beals in “Storm of the Century.” Aided by brilliant performances from Cole Feore and a script from King himself, DeMunn captured the small-town thinking and spot-on accent of Maine, something largely lacking from adaptations of King’s geographically specific work.
2) Michael Gornick, producer/director
Michael Gornick is only a known commodity to truly devoted horror film fans, but his work is something many people know. A longtime George A. Romero collaborator, he was the cinematographer on Dawn of the Dead and its sequel, as well as Knightriders and his first King work, Creepshow.
He moved from cinematographer to director with the TV series “Tales from the Darkside,” bringing King’s excellent short story “The Word Processor of the Gods” to screen In an episode. He returned to the anthology fold again with Creepshow 2, this time as the director of the film, creating memorable segments like the carnivorous blob in the lake and the murderous wooden Native American statue.
His final collaboration with King was the interesting TV oddity of “Stephen King’s Golden Years.” A continuing series born from the popularity of the mini-series It the year before, it was an original story not based on a previous concept. The cast was good and the premise was interesting, but it was cancelled after only seven episodes.
There is no doubt who tops the list of most frequent and fruitful collaborators. With a whopping seven adaptations, Mick Garris is officially the King adaptation king.
Always a genre writer from his early days on Amazing Stories to his script for Hocus Pocus to his many incarnations of Post Mortem, his interview series, Garris has had a love and devotion to all things creepy. It was 1992’s Sleepwalkers that brought King and Garris together, with Garris directing the film and King writing the screenplay.
Though the feature film wasn’t a huge success, it led to a longtime friendship and collaboration. Two years after Sleepwalkers, Garris brought the impossibly-complicated “The Stand” to TV screens in four parts, an enormous undertaking. The film was a success, leading to other TV movies like “Quicksilver Highway,” “Riding the Bullet,” and “Desperation.”
He was even brave enough to direct the TV mini-series version of “The Shining,” thought to be untouchable due to Stanley Kubrick’s classic 1980 film. The TV version was met with mixed reviews. To date, the last film they worked on together was 2011’s “Bag of Bones,” a two-part TV adaptation of King’s novel starring Pierce Brosnan and Annabeth Gish. However, with the renewed interest in all things King, it’s only a matter of time before we see something else from this prolific duo.
What’s Next? 5 Horror Trends We Expect Within 5 Years
Recently I penned an article based on the last Decade of Horror. In said post, I delved into the top three films of each year spanning 2010 – 2017 and attempted to decipher what the trends were throughout our decade thus far.
To say the least, the article was insightful to write up. Witnessing trends ebb and flow and analyzing what floats to the surface time and time again was a fascinating project to take on.
With that knowledge now in my big, bald noggin, I thought it would be interesting to dive a bit into what I believe will be the “Next Big Thing” in horror. We’ve seen found footage. We’ve seen 3-D. We’ve seen it all, right? Not so much.
So here are five trends I expect to see in horror over the next five years.
Black & White & Red All Over
The resurgence of black & white films. This is the one I can all but guarantee is on the horizon and it is going to hit in a big, bad way in the very near future. Black and white creates atmosphere in spades, and it doesn’t cost any extra money.
With films like The Eyes of My Mother and A Girl Walks Home at Night bringing the “old-fashioned” technique back to the forefront of independent cinema – and the recent killer episode of “Black Mirror: Metalhead” directed by David Slade – I believe, like cinema tends to do, there will be a step back towards a more classic era of filmmaking. And black and white horror films will be at the head of that new reverse-renaissance. Mark my words.
Netflix of Horror
A horror streaming giant will rise. Bank on it. While Shudder appears to be the frontrunner, they have yet to become a household name. Unfortunately, I think this is due to too many obscure titles. I love Shudder don’t get me wrong – and I’ve kept my subscription going for several years (as I’m sure you have) – but that said, they seem to be too concerned with horror street cred than pulling in the mainstream crowd.
That’s, of course, not a bad thing, but throw some bullshit teen horror on there and get your subscription numbers up, and Shudder will become the top spot for horror (of all kinds) on these here internets… or continue to be cool and fade away. Make your choice. Again, nothing but love, Shudder. I’d just like to see you become the Netflix of Horror you deserve to be. Someone’s going to take the title soon. I only hope it’s you.
This is just what it sounds like: movies shot almost exclusively with drones. More and more low-budget filmmakers are employing drones to stunning effect, and it is only a matter of time before someone says “F*ck it” and shoots a flick completely with a drone.
And I’m not talking about found footage here by the way. I’m talking about a movie that breaks down the walls of what we call typical coverage in a film – horror or not. But considering horror is always at the forefront of innovation in the world of cinema, I think drone movies will begin in the horror genre. No more steady-cams, no more cranes, tripods, helicopters, or dolly tracks. Imagine sweeping camera moves of not only landscapes but intimated conversations as well.
Imagine we’re close on someone’s eyes, then we pull out into an over-the-shoulder, then we begin to steady-cam around them as they kiss (or kill, whatever) and then we pull back higher and higher into a glorious wide of the sun setting behind the trees. Shots like this weren’t possible (on a low budget) before drones. Get creative. Forget the rules of coverage (other than the 180 rule) and push cinema to new heights.
That said, I concede that such dialogue scenes will need to be dubbed and shadows/reflections caused by the camera will need to be monitored closely, but these are already the issues any filmmaker takes on when making a flick. One day we will get epic drone films, and they are going to be low-budget stunning on the level of mega-budget movies ala Dunkirk. I cannot wait.
Sooner or later all of us fans are going to get sick and tired of waiting for someone at the major studios to get off the butts and make another entry in the TCM, Friday the 13th, NOES series. With technology what it is nowadays people are going to just start making them themselves. They’ll be putting real time and effort into these films as calling cards, and they might even break the studio system this way.
Hell, we’ve already seen the start with such quality flick as the Friday the 13th fan film Never Hike Alone. And I see no reason that the films couldn’t end up being ballsier and better than anything a studio could put out.
But they can’t make money. True. But again they will function as calling cards for future filmmakers. And have you ever seen how expensive film school is? Yikes. Better to slap a hockey mask and a GoPro to your dumbass friend Brian and have him chase your little sister around the backyard. Just work your way up from there.
One-Month Movies. Or Flash Flicks. Or something like that. It’s an appealing gimmick to be sure. Filmmakers will begin making movies for all intents and purposes as fast as they possibly can. Pure creativity without overthinking the final product.
Scary prospect. But a thrilling one as well. I know I’d be up for watching what filmmakers like Adam Wingard, Mike Flanagan, and hell maybe even John Carpenter could come up within one month’s time. It’s like DIY king Robert Rodriguez once said (and I’m paraphrasing here) digital filmmaking is like a painting; you can just begin and let the mood and inspiration take over.
These “One-Month Movies” will be exciting and fresh… or utter disasters. Either way, they will be worth watching. But these films will need a platform for their releases. And once the Netflix of Horror I described above comes to grandiose fruition, then we will be seeing these films more and more. At least I hope.
And those are the 5 horror trends I expect to see over the next 5 years. Do you agree? Is there something you think I’ve left out? Let us know below!
Until then give the video below a quick watch. It’s simple and amateur but the (no doubt kids) behind the video have the right idea. Drones plus black & white footage, plus the score to The Shining creates killer atmosphere. Just wish the framing was a bit better. All the same, there are moments in the video that will sell these ideas to you instantly.
Brennan Went to Film School: Unlocking the Hidden Meaning in Insidious: The Last Key
“Brennan Went to Film School” is a column that proves that horror has just as much to say about the world as your average Oscar nominee. Probably more, if we’re being honest.
WARNING: THIS ARTICLE CONTAINS DETAILED SPOILERS FOR INSIDIOUS: THE LAST KEY. READER DISCRETION IS ADVISED.
Blumhouse had quite a year last year, didn’t they? In addition to having three number one hits on their hands, the racial satire Get Out is their first horror entry to get awards traction thanks to its deeper themes. Now that everyone is starting to take the company and its work a little more seriously, it’s time to bring out the big guns and dive right into some deeper analysis into a much more unlikely subject: Insidious: The Last Key. The fourth entry in their tentpole haunted house franchise might not seem like it at first glance, but it’s the Get Out of the Me Too era, telling a story of women’s struggles while predicting the downfall of powerful, abusive men that started to occur during its production process with eerie accuracy.
No, seriously. Let’s start by taking a look at the villain. Unusually for this franchise, the baddies are both paranormal and human: halfway through the film it is revealed that the haunting victim who has called Lin Shaye’s Elise and her crew is also a sadistic killer who has chained up a woman in his basement. This is also revealed to be the very same thing Elise’s father did many decades before. The film implies that both men are being influenced by the key-wielding demon that inhabits the house.
Key imagery is very important to the film as a whole (I mean come on, it’s literally in the freakin’ title) and its themes of Elise arriving to her childhood home to unlock the secrets of her past. But there’s more than one meaning to that imagery, and understanding those meanings is the key to unlocking the subtext of the film, if you’ll allow me a really obvious pun.
The demon KeyFace might be influencing the men, but they’re still receptive to the idea. That’s because he’s awakening something that was already inside them. KeyFace represents the pure male id; the unconscious, animalistic desires and drives that lay buried in the psyche. He’s not forcing them to behave in this way, he’s just unlocking their darker impulses.
It’s no coincidence that the demon’s lair is the bomb shelter basement. The house has now become a road map of her father’s mind, with his strongest emotions (and the literal place where he keeps his abused women secreted away) hidden in a sublevel that isn’t visible from the surface. This is the very same basement where he locked up Elise while punishing her for insisting that her visions were real. He wanted her to keep her psychic gifts locked away, probably so she wouldn’t discover his own submerged secrets.
Elise encounters a variety of keys during her journey that allow her to penetrate deeper and deeper into The Further, the house, her past, and the hideous truth about the men in her life. These keys unlock doors, suitcases, chains, and cages, but the most important unlocks the truth… and turns the attention of the evil upon her and her two nieces.
The probing of these women ignites the fury of KeyFace and he takes her niece Melissa into the basement (another buried sublevel that must be unlocked), inserting a key into her neck and rendering her mute, then stealing her soul with a second key plunged into her heart. He is only vanquished when Elise and her other niece Imogen team together and use a family heirloom – a whistle – to summon Elise’s mother’s spirit.
On the surface, this seems like an inspiring story of three generations of women helping each other to face a great evil. This is certainly true, but now we have the key to understanding exactly what’s happening here. When a young woman discovers the abuse being perpetrated in her house, the figure of pure, wicked male desire literally steals her voice, silencing her. In order to restore that voice, another woman who knows the truth must very literally become a whistleblower.
…Did I just blow your mind?
At its heart, Insidious: The Last Key presents a world where women must rely on other women to provide them a voice and their very survival in a world dominated by powerful men and their ugly, dirty secrets. Secrets that they will do anything to keep locked away. There may be slightly more ghosts in Insidious than in real life, but that’s a frighteningly close parallel with the ugliness currently being revealed in Hollywood – as well as the world at large. It probably won’t tear up the Golden Globes next year, but this film is just the next important stepping-stone after Get Out in Blumhouse’s use of the genre to dig deep into the real life horrors plaguing our society.
Brennan Klein is a writer and podcaster who talks horror movies every chance he gets. And when you’re talking to him about something else, he’s probably thinking about horror movies. On his blog, Popcorn Culture, he is running through reviews of every slasher film of the 1980’s, and on his podcast, Scream 101, he and a non-horror nerd co-host tackle horror reviews with a new sub-genre every month!
Why Brad Anderson’s Session 9 Scared the Hell Out of Me
Invariably, working for sites such as Dread Central, I am always asked the question, “What is the scariest movie you have ever seen?” And, well, truth be told, movies don’t tend to scare me that often. Sure, there are my go-to flicks time and time again such as The Blair Witch Project, Paranormal Activity, and Lake Mungo. But sure enough, every time I spout out that list to a fellow horror fan, they always follow up with, “Well, what is the scariest movie you’ve ever seen that ISN’T found footage?” Fair enough question.
Now, while I’m not going to go into what I consider to be the scariest non-found footage horror movies (we’ll get into all of that at some later date), I do want to point out a movie in particular here today. The way it goes is that when I tell people my list of scariest non-found footage films, they always nod in agreement. Until, that is, I get to a film called Session 9. It is at that point that whomever I am talking to cocks their head to the side and says, “I’ve never heard of that one.” Which is a shame, and it happens far too often. So today I want to, yet again, give anyone and everyone who’s willing to listen the recommend.
Let’s begin with a quick rundown of the film. Session 9 was written and directed by Brad Anderson, who is a name you might recognize as the creative force behind such films as The Vanishing on 7th Street, Transsiberian, and the “Christian Bale is as skinny as a skeleton” mindfuck The Machinist.
But as good as those film may (or may not) be, without a doubt Anderson’s masterpiece is Session 9. Written specifically to be filmed inside the Danvers State Mental Hospital, the film stars David Caruso (don’t let that stop you), Peter Mullan, Josh Lucas, and a few other gents as a group of asbestos removal guys who are possibly haunted within the walls of the institute while on a job.
If that rundown isn’t the best, here is the film’s official synopsis: “A tale of terror when a group of asbestos removal workers starts work in an abandoned insane asylum. The complex of buildings looms up out of the woods like a dormant beast. Grand, imposing…abandoned, deteriorating. The residents of Danvers, Massachusetts, steer well clear of the place. But Danvers State Mental Hospital closed down for 15 years is about to receive five new visitors…”
Brrr… freaky enough, right? Well, trust me; the actual film is leaps and bounds better than even that creeper synopsis lets on. And best of all, with all horror and terror aside, the film is a tight flick about a group of men and how they interact as a team. While that may not sound too appealing, the actors – yes, even David Caruso – make for a lovable group of grumps that I enjoyed spending 90 minutes with.
Let’s talk about the horror for a second. You have to wait until the end, but once it hits (full force), it is well worth the wait. The first two thirds of the film is creepy but mostly about the men and the job. Horror looms in the background at all times, sure, but it isn’t until the final act that the shit really hits the fan. And boy, does it. The final act is as bloody as any slasher you could ever hope for and even features a fun, very cool cameo by Mr. Larry Fessenden himself. But it is the final, give or take, 30 seconds of the film that still haunts me to this day.
You see, the film is constantly playing a game of “Is it ghosts? Is it all in your head? Or is there a human element to the horror?” And that game comes to nightmarish reality in the film’s final moments. I specifically remember having fun with the film until its last frames. That was when I needed to turn the lights on. But that still didn’t help. The horrors that Session 9 presents in its final moments are horrors where there is nowhere to run, no way to prevent it from finding you in the darkness, and no way to save yourself, or your loved ones, if it finds you.
“I live in the weak and the wounded.”
Being that I am prone to being one of those dudes that lets shit bottle up inside until I explode (sad but true), this film is fucking terrifying to me. I get it. I fear it. And I hope you will too. As kids, we need cautionary tales, and let’s not forget that we as adults do too sometimes. Session 9 is a warning for grown-ups. You almost deserve it for yourself and your loved ones to see this film and allow it to sink in. Just don’t expect to sleep for a few nights…
In the end, why did Session 9 scare the hell out me so bad? Was it that voice that haunts my dreams to this day, or was it what the voice says? I’m still not sure. But trust me when I say that Brad Anderson’s Session 9 is one of the absolute scariest films I have ever seen. If you haven’t given the film its day in court yet, remedy that ASAP and thank me (or hate me) later.
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