Cujo

A friendly St. Bernard named "Cujo" contracts rabies and conducts a reign of terror on a small American town.

"Cujo" is more than just a monstrous dog, this is also a tale of infidelity and a family breakdown. This is what separates it from other animal attack films.

The New York Times called the film "predictable" and said, "Cujo is not as menacing or frightening as other film adaptations of King's popular stories and especially can not compare to the 1976 Carrie..." Now, that may be true. But let us not sell it short, either. Just about everyone, whether they have seen the film or not, knows what the word "Cujo" means... far more than, say, "Christine". So this is one of King's more deeply imprinted films, even if not the most creative.

1983 was a bit of a bumper year for cinematic versions of Stephen King novels. In that year alone we had Christine and The Dead Zone as well as Cujo. It would probably not be unfair to say that Cujo is the least good of the three but in all honesty there isn't a great deal in it, with all being pretty effective and nicely varied horror films. Out of those three, and unlike most King horror films in general, Cujo is not a supernatural horror movie and is based on a plausible idea. A woman and her young son become trapped in their broken down car in a remote junkyard when a St. Bernard dog, made rabid by a bite from an infected bat, lays siege to their vehicle in a murderous mood.

This one could be described as a high concept movie given the very basic nature of its set-up. In order to pad things out to feature length and to add some depth, we have quite a bit of character development in the first half of the movie, which focuses mainly on a dysfunctional family and the dramas that surround them. Once the action moves to the junkyard though, most of this is largely forgotten and the film essentially becomes an 'animal-attack' horror-thriller. Dee Wallace does some good work as the mother who has to deal with the trauma while having to comfort her young son, who it has to be said is involved in some pretty intense looking scenes which may have been quite full on for the young actor involved. But the scary scenes were often achieved by very clever editing, after all a St. Bernard is hardly the most threatening of beasts to base a horror movie on. The fast and clever edits do make this creature seem genuinely menacing. Less successful though was the soundtrack which compromised of a considerable amount of really terrible music which would have been better suited to a daytime TV melodrama than a suspenseful and thrilling feature film. But on the whole, this is a pretty decent and lean effort that gets the job done quite effectively.

This movie was pretty good. I saw it on TV last Halloween, and it really set the mood. It's basically about a dog that gets rabies, and a mother and her son are trapped in the middle of nowhere (in their car that broke down, of all things) because the dog is terrorizing them. It's really pretty sad actually, because they show the dog chasing the rabbit into the cave where he gets the rabies, and the dog just seems so sweet and cute. It's pretty scary too, when the boy passes out from the heat in the car and needs water or SOMETHING. It obviously set that kind of situation for movies like Panic Room and Signs. It is really a pretty suspenseful movie with that psychological terror--it would scare the hell out of you if it happened to you.

We all know Cujo is a giant St. Bernard that has to kill because he is rabid. The film works as a horror film because of that concept, but this film and the story writer behind it believe that paybacks are a bitch. Retribution is always around the corner and when it is your time, you don't know if it is going to from a guy in a hockey mask, a massive great white shark,a 58 red and white Plymouth Fury, some idiot with long finger knives or a lovable Saint Bernard. Whatever it is though, sin always accounted for. Cujo subscribes to that theory.

Everyone that dies in this film, with the exception of maybe one, does so because they are not very likable people to begin with. They are all tainted and when Cujo gets a hold of them, we are almost glad that he wants their blood. But it is the climax of the film that is the most intriguing. Because here we have a woman who has gotten rid of her sin. But she now has to face the music not for what she is doing, but for what she has done. And if you read the book, you will see that it sticks to that theory and message much more than the film does. It is understood that Cujo has to have a happy Hollywood ending, and that is fine, but the book tells a much more clear yet paradoxically convoluted tale of a boy, his dog, and how sin is never really forgiven.

What is also great about Cujo is how it shows the dog coming unravelled. We see the transformation from lovable suck of a family dog, to vicious killing machine that has an insatiable need for blood. We see his nose get more wet, we see how certain noises bother him more and we see how much saliva this dog has stored up in his nasty mouth.

Cujo is a good movie. It is scary, especially the last half hour and it actually has a point. It also does a fairly good job of bringing King's vision to life. It is not easy to do that, after all King has a very vivid imagination. But Cujo comes close. Very close

(57%) With one of the thinnest plots in film history, this still manages to be quite a real good shocker. Most of the action takes place in a broken down car in the countryside during a super hot day as a big dirty, and very angry dog tries to attack and kill a poor young kid and his mother. The attacks themselves are really quite brutal and very well put together as the main characters really do go through hell and back with this rabid pooch. This is one of the better animal attack films that has for some unknown reason been more than a little bit forgotten about. Put this on if your kid wants to watch one of the terrible Beethoven sequels for the 100th time.