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If your horror movie tastes run less towards chainsaw-wielding maniacs and more towards things-that-go-bump-in-the-night, then this is the movie for you. Based on a short story by the great Stephen King, "1408" is one of the genuine movie sleepers of summer 2007.

John Cusack gives a tour-de-force performance as Mike Enslin, a successful writer who specializes in the investigation of paranormal activity with a particular emphasis on hotel rooms that have the reputation for being haunted. The twist is that Enslin is, essentially, a nonbeliever who spends most of his time and energy debunking the very subject off which he is making his living. The 1408 of the title refers to a room in a swanky, five-star Manhattan hotel in which, we are told, no fewer than fifty-six guests checked in but never checked out, having met their untimely demises there in the decades since the establishment opened. Determined to put an end to the "foolishness," Enslin moves into the room convinced he will ride out the night in utter peace and safety. He has, of course, another think coming.

As adapted by Matt Greenberg, Scott Alexander and Larry Karaszewski, "1408" succeeds mainly by keeping it straight and simple and by focusing so intensely on the character of Enslin and his relevant back story. The multi-layered plotting keeps us guessing from first moment to last, so that we never quite know whether what Enslin is experiencing is really happening or whether he is suffering some form of mental breakdown brought on by the death of his young daughter and the subsequent breakup of his marriage a few years back. Along with director Mikael Hafstrom, the master craftsmen responsible for the film's phenomenal art direction and sound recording draw us into the strange world they've created where nothing is quite what it appears to be and where we spend most of our time nervously scanning the edges of the frame to see what surprise is next poised to jump out at us.

Cusack, who has long been underrated as a performer, gets the chance to really show us his acting chops in this role. He allows us to clearly see the fear and vulnerability hidden beneath his character's wisecracking, cynical exterior. Samuel L. Jackson and Mary McCormack also excel in the small but crucial roles of the wise hotel manager and Enslin's estranged but faithful wife, respectively.

For those who can remember a time when fright films had more on their minds than simple blood and gore, "1408" is like a refreshing, restorative tonic on a hot summer day.

A man named Mike Enslin (John Cusack ,though Keanu Reeves was attached for playing lead role in the movie) writes books evaluating supernatural phenomena in hotels, and other haunted locations , as he specializes in debunking paranormal occurrences . Shortly thereafter Mike meets the manager of the hotel Gerald Olin (Samuel L. Jackson) and he checks into the fabled room 1408 in the Dolphin Hotel . Soon after settling in , he confronts genuine terror and stays locked-up . Later on , he gets to communicate his wife (Kate Walsh was originally cast in this film, but was forced to drop out due to scheduling conflict and she was replaced by Mary McCormack) by means of a computer .

This exciting film based on the terrifying story by Stephen King contains chills , thrills , suspense , and supernatural situations . The picture succeeds because the thriller , tension , suspense , as well as a superbly written script delving into the human psyche in such extreme situation and ours instinctive urges for survival . The screenplay manages to be intelligent , intriguing and thrilling , the good thing about this film is that the director made it on an acceptable budget only having to do a few sets , yet the movie works on many levels but is constantly reconfigured . Extraordinary performance from John Cusack in his second appearance in a Stephen King film adaptation , the first was Stand by Me. The picture bears certain relation with ¨The Shining¨ both movies were also shot at the same studio - Elstree, in London . The story this film was based on was almost never written ,Stephen King originally created the first few pages of '1408' for his nonfiction book, "On Writing," as an example of how to revise a first draft. The story, however, intrigued him, and he wound up not only finishing a complete draft, but adapting it for an audio-book compilation of short stories. Colorful and evocative cinematography by magnificent cameraman Benoît Delhomme . Thrilling and suspenseful musical score by Gabriel Yared who had formerly won an Academy Award for Anthony Minghella's The English patient . The motion picture was compellingly directed by Mikael Hafstrom , an expert on terror and sinister atmospheres as proved in ¨Drowning ghost¨, ¨Evil ¨, ¨The rite¨ , and of course ¨1408¨, he's now filming ¨The Tomb¨. Rating : Good , above average . The picture will appeal to Terror buffs and Joan Cusack fans .This is without a doubt a thought-provoking and mysterious film to be liked for terror fans , turning out to be one of the most original horror movies of the last years .

"1408" is a story taken from a Stephen King short story. Because it's from a short story, it's not surprising that the film has a very simple plot.

Mike (John Cusack) is the author of various parapsychology books about ghosts. One of the specialities of some of the books are haunted hotels and he spends much of his time traveling all over trying out these hotel rooms and then writing about how he saw no evidence of hauntings. However, when he checks out a lead to haunted room 1408 in the Dolphin Hotel, he finds that the hotel is intent on convincing him not to stay there! In other words, while most hotels play up the haunted angle to drum up business, this place tries hard to convince folks not to stay in 1408. What follows is Mike's hellish experience staying in a room that seems less haunted and more just evil...and intent on breaking him and driving him into madness by preying on his greatest fears.

This film has one of the simplest plots I can recall and a very tiny cast. In fact, most of the film it's just Cusack and the room of evil! And, given these constraints, it's a pretty amazing horror film. Vivid, scary and very unconventional. It's NOT some typical ghost or horror story, that's for sure. And, the worst part of it? The ever-present danger that the room will once again play the Carpenter's "We've Only Just Begun"...which is does repeatedly!

Shined Up

I decided to watch this after Polanski's "the Tenant" and that was probably a bad choice, because that film is precious.

This one consists of three elements, typical of the King formula.

The first is the expression of terror, shaped safely so that you can watch but not be personally threatened. I think this is a King invention. Here, we know WE would have taken seriously the warnings so he deserves what he gets. It relieves us.

The second element is trite, so far as I am concerned. Also a King specialty is to weave some sort of emotional trauma into the otherwise merely decorative horror. Here it is the death of our character's child, which happened before we meet him. This allows for the final zinger.

The third element is the stuff I study and that King knows well. I call it narrative folding. Situations are nested in each other. Time gets shifted, at the same time that the period in the room proceeds in real time, even with a clock counting down. Ghosts inhabit ghosts and all people are ghosts. Cold is hot. Water is land. Daughter is wife.

This is the stuff that makes the film work, and I think it is done pretty well. Its why they picked Cusak. He understands this stuff. Has since "Malkovich" and "Fidelity" and mastered in "Identity."

Ted's Evaluation -- 3 of 3: Worth watching.

It's a hit or miss thing with Stephen King movies. Sometimes there's an exceptional effort by someone with a really strong vision (eg Kubrick, De Palma), but then there are also some big blunders (Dreamcatcher comes first to mind). And then there are those that sort of lie right in the middle, as decent, unpretentious but unremarkable efforts that chill or spill into your living room or movie theater. 1408 isn't a great thriller, but for King fans it'll likely be one of the most faithful- or at least feel faithful- efforts to date, and as such it's pretty creepy and a sure-fire "gotcha" machine. The premise is vintage King: a cynical writer (Cusack) who's books go over the paranormal (with the exception of a personal book about a father and son), and gets sent an anonymous postcard about the Dolphin hotel and room 1408. The manager warns him, fervently, to not stay in the room. But he's insistent to the point where there's no turning back. Slowly, but extremely surely, things start popping up in the room, out of Elsin's own consciousness, perhaps, and as well with the environment changing (fix that heater!), and even a pint-sized version of the hotel manager (who doesn't want to see Jackon ala Indian in the Cupboard?).

It all leads up to a few good twists and turns, but good being the important word here. Unlike the unsuccessful pot-boiler Identity, which also (regrettably) starred Cusack, this isn't contrived for the sake of it. The sudden images of a man with an ax swinging at Elson, the images of ghosts jumping out of the windows (one of them, which I found extraordinary, was shown with the same marks that come with an old movie print), isolation enhanced by a lack of windows to either side, and that bottle of booze. Spiked? Probably not- this is a thrill-ride predicated on lightning-fast imagery, but too fast (it isn't Saw thank goodness), and Elsin's past, notably the death of his daughter. It's usually a conceit that the filmmaker puts in to have the central character to have a dark past loaded with sadness, but here it works effectively in how gradually it all comes out, and how the fear/acceptance of death is something just as, if not more-so, terrifying than anything else the room has to offer.

As I said, not a great film, as sometimes it has that feel of an all-too well-oiled machine by director Mikael Håfström, edging on feeling like there's a checklist somewhere of things to happen in the room to Elsin. But, as mentioned, it doesn't come off as being too unsurprising. On the contrary, there is some originality to how the special effects team- via Cusack, going through many modes of acting like it's a powerhouse audition- bring out the best of what can be offered with a horror-show amusement park. It may be in part like a ghost house, but it's a fun and exciting one, and more watchable than any other PG-13 horror film I've seen in a while. 7.5/10

This adaptation started out very enjoyable, but finished poorly.

I get the feeling (with a certain sour deja-vu) that the movie was written by someone who didn't really appreciate the details of the (very good) source material, and, surprise surprise, who thought their ideas were -so- much better than what the author had come up with.

Wrong.

Where the movie diverges sharply from the original story is where it loses all the atmosphere that has been built up - which is a terrible shame, because there is a lot of well-constructed suspense, the acting is excellent, and there is even a little dark humour thrown in.

My suggestion would be to read the story as King wrote it. It won't take as long, and the ending's better.

I read the Stephen King story long ago - so long that I don't remember anything about it - but had never actually seen the film adaptation of 1408 (2007) until I sat down and watched it last night. It's a straightforward little production in which John Cusack plays a sceptical ghost hunter who arranges to spend a night in a supposedly cursed hotel room, and what follows can perhaps be called a rite of passage as we see him gradually succumbing to the room's insidious presence.

For me, this one's a film of two halves. I actually really enjoyed the first half. Cusack is great in the role and it's essentially a single-hander with him in the room gradually losing his mind. It reminded me of Bruce Campbell in THE EVIL DEAD. Sadly, the second half turns into pure fantasy and gets weighed down with all the emotional trauma, dream sequences and extra characters and I felt it lost something along the way and became quite muddled.

Just when you thought it was safe to check into a New York City hotel, along comes Mikael Hafstrom's chilling "1408." Not since Norman Bates terrorized guests at his motel has a paying customer received such treatment during a night's lodging. Although somewhat more cerebral than viscerally frightening, "1408" delivers its share of shocks and frights, and viewers will stay in their seats not to miss the film's twists and swerves. In a cruel blow to fans of 1970's soft rock, listening to the Carpenters' hit "We've Only Just Begun" afterward may stimulate nightmares and certainly will never be the same again.

John Cusack, a cynical writer who has sunk from producing intimate novels to hack work about haunted inns, is lured to a Manhattan hotel where room 1408 is off limits to visitors, because of its long history of inhospitality. With only a knapsack, but tons of baggage from family misfortunes, Cusack insists on a night in room 1408, despite the management's objections. Cusack triumphs over the staff and settles into the chamber's banal decor, which he idly describes piece by piece into his pocket recorder for the intended article. The evening starts to look like a genuine snooze, when the room's unsettling turn-down service, a chorus from the Carpenters, and a radio that begins an ominous countdown unnerve both Cusack and viewers.

Although the "night in a haunted house" routine has been done endlessly since movies began, Hafstrom for the most part effectively plays his audience with an eerie, often jarring, soundtrack, clever cutting, and a minimum of effects. "1408" is a ghost story, not a horror or slasher flick, and, as effective haunting tales have shown ("The Haunting," "The Uninvited"), the unknown, the unseen, and the unexplained are far more frightening than CGI effects. Although reminiscent of "The Shining," another Stephen King adaptation, this film was evidently made on a modest budget. Thus, Hafstrom worked largely with a one hotel-suite set and one mid-level actor. Besides Cusack, Samuel L. Jackson also appears as the enigmatic hotel manager, who warns Cusack about the room, yet seems to know more that he shares. Cusack is fine as always and carries the film effortlessly and literally through Hell and high water. While perhaps not as scary as the premise suggests, "1408" nevertheless provides intelligent entertainment for lovers of old fashioned ghost stories.

Mike Enslin is an intelligent but cynical, faithless, self-righteous paranormal investigator and novelist who's made a living by traveling from place to place and disproving rumors and superstitions about ghosts, poltergeists, and specters. He decides to investigate an allegedly evil room at the Dolphin Hotel in New York City where numerous guests and hotel staff have been killed over the years, and for the first time confronts what he believes to be a genuine supernatural presence. Despite some solid performances from Cusack and Jackson, and some truly spooky moments, this horror-thriller is only marginally effective; the setup is familiar, and the whole thing builds to an inexplicable and unsatisfying conclusion. Kudos to Cusack though for being an effective one-man show. **

First, I love John Cusack. Next, I used to love Stephen King when I was a teenager (now he scares me too much!). But I decided to watch this today on my On Demand in the middle of the afternoon in my family room while folding clothes. By the middle of the film, at 1:30 p.m., I was too scared to go in my basement to get any more clothes, so I just sat there and watched! This isn't a slasher type of scary. This is a get in your head and make you look behind you in case someone is lurking back there kind of scary. Sort of like The Shining (what is it with King and big, old hotels?) but not quite as scary, although almost.

Cusack's acting is excellent! I LOVED this movie, even though it scared the s**t out of me!

John Cusack plays a writer famous for debunking haunted house claims. When he receives a mysterious postcard about the Manhattan-based Dolphin Hotel, and the cursed history of one of its suites, Room 1408, he can't resist the opportunity spend a night there so he can quash another ghost hoax.

There is much I liked about this horror yarn: the performances of Cusack (the endearing swagger from his 1980s roles on full display), and Samuel L. Jackson as the Mephistophelian hotel manager; the production design; and the ominous use of the Carpenters song We've Only Just Begun, which signals the nightmare Room 1408 is about to unleash. A neat twist late in the second act recalibrates the movie, as an overload of special effects was starting to make things redundant. Room 1408 borrows from The Shining, not surprising in that both are based on books by Stephen King.

Please note that this review refers to the theatrical version, and not the Director's Cut DVD release which features a completely different ending.

Mike Enslin is a cynic. He is the author of books that detail and debunk popular ghost stories and haunted hot-spots, and it quickly becomes obvious that he is somewhat disenchanted with the life that he leads. That is, of course, until he receives an invitation to Room 1408 at the Dolphin Hotel, a room in which lies his and arguably John Cusack's biggest challenge yet.

It soon becomes apparent that 1408 is not your standard horror movie, as what follows, after an enjoyably creepy encounter with hotel manager Gerald Olin (Samuel L Jackson), is essentially 90 minutes of John Cusack in a room. On his own. Save for, of course, whatever lurks inside 1408. It is a challenge that Cusack rises to expertly; we all know he's a good actor and a brilliant everyman (I don't remember a film in which I've wanted to see him crash and burn), but 1408 allows him to display his range to great effect as the room confronts him with the physical dangers of the present and the emotional tragedies of his past.

While it's relatively light on big scares, 1408 instead creates a powerful sense of unease that combines wonderfully with Cusack's portrayal of a man enduring his own private hell. Each challenge thrown up by the room takes the movie somewhere new and unexpected, ensuring that the movie never really gets tired or repetitive, and as a result each scene in the room is tense, surprising, and very, very creepy. However, that's not to say that it doesn't lose its way occasionally. Some of the CGI usage is quite ineffective, and about two-thirds through the movie it feels like it's about to go the wrong way, but it recovers well for the final act, and its haunting ending ensures that you'll remember it long after you leave the theatre.

A brilliantly acted, well developed version of King's short story, 1408 is a different type of horror movie, but in all the right ways. Very good!

Not The Shining - at least not Kubricks version of the King novel - but a haunted hotel (well a room!) that messes with a writer. Sounds a bit familiar but whilst never rewatching the heights of the afford mentioned classic, it's up there with the next best King adaptations. A single room single actor stage for most of the runtime - apart from a fine cameo from Samual Jackson - makes For an effective chiller. Worth watching

Here's why. Stephen King's psychological horror rarely ever shows its face on the screen the way it appears in his writing. This movie captures a lot of the mental torture that Stephen King writes so well (embodied in room 1408). I typically always see Cusack as playing himself in every movie he's in. Fortunately, this role appeals to that character. I would say see it and judge for yourself. I specifically enjoyed the background music and director's choice of camera angles. I also appreciated the mix of surprise horror and psychological. All too often, a horror film loads up too much on one side and it just doesn't work out well!

It starts off great, sets up the characters, good acting, good pacing and it genuinely felt like this would be an amazing story, but it was not. The story's concept is rather unique and intriguing, but one that was told quite badly. The goal for the character remains the same during the entire movie, and quickly drains the attention and the care for the character. It simply felt one-dimensional and with only one character, it felt repetitive and uninteresting. Later on the story picks up pace once again, but this time it is very predictable where the story is going.