1408

Mike Enslin makes a living as an author, who specializes in the paranormal phenomenon. After receiving a postcard saying DO NOT STAY IN 1408, Mike becomes intrigued. After much hassle and waring from the hotel Manager, Mike finally makes it into the room. What at first seems to be a normal hotel room, turns into a horrific nightmare and Mike only has one hour to live.

There have been many films based on Kings writings. Some of these films are terrifying, such as IT and The Shinning; while others are terrifyingly bad, Dreamcatcher anyone? The latest film to be added to the list is 1408 and lucky for us it belongs to the former. 1408 works on many different levels and even throws a twist to the audience. While it's not the best King adaptation it certainly is one of the better ones and deserves to be called The Shining for 2007.

In the era when so called horror films are full of SAWS and HOSTELS, it's refreshing to see some new blood being pumped into the genre. 1408 pumps a whack of blood and a whole lot more. The film starts off as one would expect, with Mike investigating one of his routine spooky places, then goes on to show his life as a writer with not so many fans. We get a sense of loneliness with Mike, he has lost something. Cusack plays the character well. For those who think they can't get pass the fact that it is John Cusack, I assure you you will not think about it during this film. His performance is a complete 180 from his previous work and I give him credit for pulling it off. Cusack goes through a wide range of emotions through this film, most of them being on the terrified side, but everyone of them is believable. Sure there are many other actors out there who could have pulled off this role, but Cusack does a fine job. Which is a really big thing that this film depends on, because there is virtually no one else in this film. The supporting characters are lucky is they get 10 minutes of screen time. Tony Shalhoub, of MONK fame is only in one scene and Mr. Jackson shares the screen with Cusack for just about ten minutes...to explain the horrors of the room, then he's gone.

Håfström, whose work I'm not too familiar with does an excellent job of bringing King's short story to live with a vivid and creative imagination. He manages to keep the audience on the edge of their seat throughout the film the moment the terror starts. The film's intentions are not to scare you with the "jump" tactic, but tries to pull something deeper, the kind of scare the builds and builds until you can't take it anymore. The entire time we are in this claustrophobic room and we know danger is looming, but we can't escape. We are stuck in this room because Mike is stuck in this room. We know the dangers ahead, we want out, he doesn't. The cinematography is beautiful, especially considering it takes place in one room. From the icy cold snow to the green walls and even the burnt aftermath of destruction, the film is beautiful no matter what is on the screen.

Cusack talking into his recorder acts as his mind trying to grab any sense of reality in this evil room. Trying to debunk the true horrors of what is actually happening. Those true horrors are psychological. One minute something spooky is happening, then next everything is normal. This mind game has been done before and before and here it's brought to the next level. Everything that happens can instantly change. One minute you can be walking in the room full of snow, then next your trapped under water. Being confined to this one room with this one character places tension on the audience as well. We don't know what is going to happen next, but we know it's not good.

There is somewhat of a twist in the film, I won't give it away, but once it happens you see 3 things happen and in this order. One is disappointment, the next is predictability and finally excitement that what you predicted is true. During this third part of things that happen, the scene in which everything is thrown back into focus is superbly done. Kudos to that scene as it is one of the best in the entire film. The main characters life he thought he had all of a sudden comes tumbling down, literally. This whole segment does slow down the pace of the film, but it fits perfectly into the psychological torment of this character.

In the end 1408 is an excellent film that will send shivers down the spines of those wanting a good scare. If you're sick and tired of the played out genres of SAW or HOSTEL, 1408 is something new and exciting and actually good. You won't get much from anyone other then Cusack, but what he brings to the table is indeed a good performance. Every corner and every room within 1408 is something that you will have to see for yourself, you never know what horrors lie next and that my friend, is a good horror film.

The word "horror" has become increasingly twisted in modern cinema to be equated with paper thin excuses for characters being subjected to senseless violence and various cheap shocks intended to make the audience sporadically jump rather than actually be subjected to an all-consuming sense of overwhelming fear. With that in mind, it is refreshing to see a literary adaptation from Steven King, largely considered the godfather of the modern horror story, which resists falling prey to such trappings, and instead concentrates on generating more carefully thought out scares, preying on deep seated societal terrors. As such, director Mikael Håfström's 1408 proves a merciful throwback to the days of psychological horror thrillers, concentrating more on the mind than the bile duct, and a solid enough effort to help re-instigate the initial traits of the genre into the modern mainstream.

While the film's premise of a jaded writer (Cusack) with a haunted past attempting to debunk legendary horrific sites having his cynicism tested by unknown forces surrounding an ominous hotel room with a death toll of 57 may sound implausible out of context, the film's execution is just intelligent and self-aware enough to make it work. Håfström's firm and capable directorial hand keeps things suitably grounded in reality when some of the film's more far-fetched plot points threaten to overwhelm the credibility of the work as a whole (for starters, the question as to why a hotel with such a macabre past would be allowed to continue to operate, let alone have clientele is never addressed, and the ending twist may leave audiences divided as to its effectiveness...). But 1408 looks and feels like such a staunchly quality work that such complaints often disintegrate once the film picks up upon the introduction of the titular room and the viewer is wrapped up by the superbly executed suspense generated throughout.

And while the film does dip rather heavily into conventions of previous similar works (the horrifying events Enslin is subjected to feel almost like a checklist of horror movie plot devices) the element which really makes the film worthwhile and excuses many of the inevitable lapses in logic is the psychological angle, leaving the audience consistently guessing as to whether the paranormal events are actually happening or whether the whole thing is occurring in the protagonist's feverish mind. While the screenplay varies between cleverly crafted lines and typical horror melodrama, the film proves an intriguing experiment in making use of a single space, and instead of the film being shot primarily in a single room proving limiting, Håfström manages to make it consistently fresh and engaging in its ever- changing state. The uncommonly innovative cinematography adds to the scare factor, as does Gabriel Yared's musical score, despite its frequent descent into horror cliché.

Despite the film being for the most part essentially a one man show, the inspired casting of John Cusack as Mike Enslin proves the film's most promising attribute. With only four walls and a floor to interact with for the bulk of the narrative, Cusack's quirky charisma proves the perfect element to provide a fresh touch to what could have collapsed into commercial formulaic monotony. With a brilliantly tuned, entirely credible rendition of a scarred cynic descending slowly into madness, Cusack resists the temptation to ham it up, and instead remains coolly understated, making it all the more unsettling as his composed exterior slowly unravels. Perfectly delivering many of his character's wittily verbose lines, Cusack sells the role with a commanding credibility few other actors could have mustered. Samuel L. Jackson also makes a strong impression in his brief scenes, and despite the almost unnecessary inclusion of his character, Jackson makes it worth the audience's while with a weighty gravitas which perfectly amps up the tension for the ensuing horror. Mary McCormack also does her best as the hideously conventional "distanced wife still attracted to the protagonist" figure, and emerges with a decent performance despite her almost criminally underdeveloped role.

What could have descended into commercial drivel under different circumstances instead proves a surprisingly intelligent and capably crafted psychological thriller, a merciful diversion from the trashy gore-fests inundating cinemas these days. While comparisons to earlier King adaptation The Shining among other works are inevitable, and despite the frequent reliance on formula, somehow new frights are extracted from age-old conventions, and with a strong directorial touch and an endlessly engaging lead performance 1408 proves a gruesomely entertaining bright spark in a fading ember of a genre, one which even the most jaded horror fans can appreciate and enjoy.

-8/10

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

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!