User reviews

Stephen King's Apt Pupil, which is part of the novella collection Different Seasons (alongside the stories that inspired The Shawshank Redemption and Stand by Me), is a valid example of how you don't need things to be openly supernatural to have a good scary tale: a "human" incarnation of pure evil will do just as fine, and few images are more effective than those of the atrocities perpetrated by the Nazis during WWII.

Okay, minor correction: WWII has virtually nothing to do with this story, given it takes place in 1984. There is a Nazi involved, though: his name is Kurt Dussander (Ian McKellen), but he's been living quite peacefully in your average American neighborhood under the name Arthur Denker. However, a young boy named Todd Bowden (Brad Renfro from the Grisham-inspired The Client) manages to uncover the old man's real identity thanks to some thorough research and tells him about the discovery. The unexpected thing is, Todd doesn't want to report Dussander to the police. What he really wants is to learn everything - and he repeatedly emphasizes the word "everything" - about the former Nazi's work under Hitler's regime. Soon enough, the perverse bond between the two starts affecting the boy's grades and behavior, and Dussander isn't unaffected either: somewhere deep inside lies the old Nazi, and that part of his personality would like to come out and play.

The film's screenplay sticks quite faithfully to the basic idea of King's story and reproduces some of the most famous scenes verbatim (except for one moment of animal cruelty, which had to be softened), although a few subplots are excised, presumably for the sake of length and pace. The downside of that is an occasional lack of detail, especially when it comes to the development of Renfro's character. Director Bryan Singer, who obviously found himself in an uncomfortable position to begin with, having to live up to the success of The Usual Suspects, makes up for this flaw by constructing a genuinely tense and unnerving atmosphere, adding to the moral ambiguity by highlighting the homosexual subtext already present in the book (when Todd tells Dussander to f*ck himself, the latter replies: "My dear boy, can't you see? We're f*cking each other.").

Acting-wise, the limelight is inevitably placed on the leading duo, even if the supporting cast, which includes fine character actors like Bruce Davison and Elias Koteas, is quite strong (with the exception of David "Ross" Schwimmer, who isn't entirely at ease in a serious role). Renfro's performance is solid and captivating enough, but like his character he is completely overshadowed by the superb, unsettling McKellen, who inhabits the role of Dussander with his usual Shakespearean grandeur. Case in point: the unforgettable moment when the old man is forced to wear an old SS uniform Todd got his hands on. McKellen carries out the assignment with the dignity of a great tragic thespian, nailing the scene as one of the essential samples of his film career.

Apt Pupil distances itself from The Shawshank Redemption and Stand by Me in that it isn't as accomplished, most notably when it comes to the inevitable book/film comparison. Then again, it tells a much darker story, which asks the audience to root for a psychotic teenager and an aging Nazi. Flawed it may be, but it certainly is interesting (not to mention carried by an astounding McKellen). It is indeed a different season.

Directed by Bryan Singer (The Usual Suspects and both X-Men features), Apt Pupil is a story of adolescent curiosity and evil intentions. Ian McKellen (X-Men) plays the role of an aged, former Nazi soldier living alone in a quiet town with Brad Renfro (Sleepers) as a young, high school teenager in the search of finding the truth about Nazi life in wartime Germany.

Adapted from the Stephen King novella of the same name, Apt Pupil is a psychological thriller with an Alfred Hitchcock-like presence, leaving quite a bit to the viewer's imagination. Much like a game of cards, the action moves back and forth between characters, each trying to take control of one another. While Kurt Dussander (McKellen) wants to keep his past in the past, Todd Bowden (Renfro) keeps probing (and sometimes threatening) to unleash the stories of the reign of Hitler and the torture of the Jews.

While this movie is much like other Stephen King-adapted novels in the sense that it doesn't always translate well to the big screen (with all of the little nuances that made King famous), the superb acting and directing makes Apt Pupil a worthwhile venture into the nature of mental wickedness. Both Singer's vision and McKellen's portrayal of Nazi war criminal bring excitement and intrigue to this movie making it a must-see.

Before I even start my review of this movie (which I liked) I gotta say "Apt Pupil" has got to be the goofiest name for a story since the hilarious 30 Rock spoof "Rural Juror". Say it 10 times fast and you'll feel like you just came back from the dentist.

Anyhoo...

There have been many films and books that attempt to explain the horror that we humans are capable of. While I haven't read the Stephen King nouvelle "Apt Pupil", I can tell you this film adaptation kept my attention and tossed around some new ideas I hadn't really considered.

If you haven't already seen it, search for the Stanley Milgram experiment. It was a psychological test done by a Yale student back in the 1960s offering one of the most chilling explanations for the phenomenon of Nazism, a convincing illustration of how humans can do horrific things. The gist is that we convince ourselves that we're doing what we're supposed to be doing ("just following orders" or "everyone told me to do it"). The video is online on dailymotion.

"Apt Pupil" surprised me by taking a very different approach which I won't ruin for you. I'll just say that it weaves a complex Machiavellian scheme, where evil is deliberate and conscious of itself. It finds its footing by creating a balance of power, reminiscent of the "mutual assured destruction" philosophy in the 80s that led the USA and Russia to stockpile enough nukes to send us to the Smurf universe.

OK, enough background. Let's talk about the film already. If the premise doesn't capture you instantly, the impressive directing and musical score should suck you in with its heavy, foreboding mood. Ian McKellan (probably best known as Gandalf from The Lord of the Rings but also an accomplished Shakespearean actor) is excellent in the role of an ex- Nazi... a menacing enigma somewhere between a serial killer and a cranky grandfather.

Brad Renfro appears on screen as the perfect naïve kid with a perpetual deer-in-the- headlights expression, sort of like John Cusack in the 80s but without the laughs. The film focuses mainly on the transformation of Renfro's character. It's here where I was unconvinced, and I docked the film a point or 2. Renfro's character mutates so suddenly and drastically you'd think he sucked down some radioactive sludge. I feel a lot of his "experiments with evil" were uncharacteristic and thrown in for shock value. No matter how curious a person is, nobody goes from Pollyanna to animal mutilations in just a month or two. It was this seemingly random, inexplicable moral decay which I felt was just injected for cheap shock value. If you can get past that, the real theme emerges.

The root of human evil, according to "Apt Pupil," is not random moral decay but actually a complex struggle for power. When this theme emerged in the latter half, that's when I perked up and paid attention. The story then takes on a suspenseful air, and the kid & the Nazi get into an interesting game of cat & mouse.

Overall, I'll stick with the Stanley Milgram experiment for the most convincing explanation of human atrocities. But "Apt Pupil" definitely delivers some food for thought. Another film that provides insight is the criminally underrated "Exorcist III" with George C. Scott and Brad Dourif playing mind games in an insane asylum. Also check out the documentary "Aileen: Life and Death of a Serial Killer," or on the lighter side, "Dr. Strangelove" makes an interesting commentary on why humans commit genocide. Who knows why humans kill, maim and torture. But as long as we keep investigating there may be hope for us.

The underlying theme Apt Pupil maintains throughout is attention to texts and attention to texts that can inspire and influence but for all the wrong reasons. Apt Pupil does not have a set up; it jumps right into its narrative from the very beginning as close to perfect student Todd Bowden (Renfro) sits there having gone through a lecture on the infamous Holocaust that took place during the 1930s and 40s in Central and Eastern Europe. Todd looks disturbed and yet intrigued at the same time; the opening credits roll after the teacher rubs out 'Jews' written on the chalk board, with the credits doubling up as a montage as Todd goes deeper and deeper into the history of the Holocaust and picks up on lots of information.

From here, Todd has had his mind polluted with a text he has done every attempt to read up on and is now in a different sort of mindset but since we did not know him before the film started, it is his psyche that has been attributed to him. Similarly to the American couple who went on a spree after seeing Badlands; similarly to the French couple who shot and robbed a liquor store after seeing Natural Born Killers and similarly to the hoodlums in Britain who dressed up and beat tramps after seeing A Clockwork Orange, media texts and texts in general can inspire and influence. Todd's story is a study of this and it become doubly dangerous when he realises local neighbour Kurt Dussander (McKellan) is an ex-Nazi in hiding.

From this intriguing set up comes a film that unfolds at a satisfying pace, delivers shocks and the odd surprise whilst maintaining a healthy amount of suspense. The film spends most of its first third informing us that the Holocaust was a 'bad thing' with its trailing off of stories that Kurt delivers to Todd and its dream sequences that Todd must endure. But at the same time, this only further emphasises Todd's fascination and displays how vulnerable he really is. There are two scenes in which Todd hallucinates about the Holocaust; one of which is when he is peering into a window at a dying Jew who cries out for help but Todd awakes in a cold sweat – he didn't enjoy it. The second of which takes place in the shower when he imagines he is a Jew himself. But he snaps out of it and pants in relief it's over.

These reactions display fear and anxiety toward such visions but it is not long before he is treating friends like dirt, participating in animal cruelty and wanting to witness first hand a Nazi drill from the real thing. There are two symmetrical scenes during which both Todd and Kurt partake in animal cruelty emphasising that Todd is perhaps entering the mindset of a Nazi whilst one who has already been there and been one also tries his hand at animal cruelty – disturbingly fitting how it involved an oven. But at this point, Todd has already bordered on the insane since his readings of the subject and the stories of the ex-Nazi have deterred him from the straight and narrow; it echoes the scene in Taxi Driver when Travis pretends to 'shoot' the porn stars on the screen in the cinema – he has seen the filth and the bare bones of the subject first hand and is now building up a fascination; albeit and 'anti' fascination as opposed to Todd's fascination which makes him want to hurt, upset and maim.

And so as the film progresses, so does the intrigue and the deception. One of the films more memorable scenes involves a homeless man who for one reason or another gets in on the blackmail and believes he'll be permitted to stay at Kurt's house given a twist that occurs. Kurt may have other ideas and the scene in which he strokes the man's bald head (probably echoing the way he did for the Jews following their head shaving) is tense and unnerving. But the student/pupil relationship takes a bizarre route and Todd buys Kurt a uniform, demanding to see him in it and demanding a performance – I don't think there is much of a homo-erotic 'gaze' that follows but there is certainly a lot more 'I'll look out for you, you look out for me' emphasis and everything gets a little more 'touchy-feely' if you know what I mean.

Despite, in my opinion, one of the biggest mis-castings in a film from last decade; David Schwimmer turns up with a silly looking moustache and some tacky looking glasses and plays a school counsellor. His presence adds another ingredient to the boiling pot but just when the game looks up in a forgettable scene, Todd is quite literally saved by the bell. Then there are the lingering close ups of the handshakes, the creepy smile and those eyes behind those glasses – is there something we should know? Apt Pupil is engaging and good fun for what it is but there are some sloppy scenes and some incidental occurrences but what good there is, is either nerve jangling, tense or unpredictable.

`Apt Pupil', based on the Stephen King novella of the same name, is a wicked little film that delves into an unholy relationship between two evils, one young and hungry, the other old and experienced . . . . and both dangerous. This relationship is what drives the film, and is what ultimately makes `Apt Pupil' a fairly compelling film to watch. The film fails, however, to deliver a satisfying payoff at its conclusion. While there's a lot of patience and care taken to build the story, there's a feeling of incompleteness as `Apt Pupil' eventually grinds towards its ending. `Apt Pupil' takes its audience on a wonderfully acted journey . . . and then stops short of its final destination, as if it couldn't find the final ounce of courage near its end to push beyond good, ordinary film-making and into the realms of film greatness.

`Apt Pupil' is the story of Todd Bowden (Brad Renfro), a seemingly bright, normal, All-American high school student with one secret quirk – he's morbidly fascinated by the Holocaust, viewing it as something dark and cool rather than as something horrifying. He's also incredibly knowledgeable about the Holocaust, which is why he's able to recognize a local old man for what he truly is -- Kurt Dussander (Ian McKellan), a Nazi SS officer wanted for his crimes against humanity. Todd confronts Dussander, telling the old war criminal that he wants to know what happened in the concentration camps – `the stuff they won't tell you in books', as Todd says. Dussander wants nothing to do with this, but faced with having his identity exposed, he is forced to accede to Todd's demands. What follows from there is a malevolent, almost symbiotic relationship that begins to grow and spiral rapidly out of control -- for Todd, it's an introduction into understanding the real face of evil, and for Dussander, it's a reacquaintance with a dark side of his past that he quickly learns to embrace once more. While Todd and Dussander do not necessarily trust one another, they soon realize that they need each other if they want their secrets protected -- namely, Dussander's real identity and Todd's failure to reveal that identity to the proper authorities -- and people are starting to come dangerously close to learning these secrets, such as Todd's parents, and Todd's high school guidance counselor Ed French (David Schwimmer) . . . .

The relationship between Todd and Dussander is the heart of `Apt Pupil', and it's here where the film really shines. Admittedly, the film does open in far too rushed a fashion – it's pretty much Todd immediately confronting Dussander about his true identity; some build-up to such an important moment might've been nice -- but once it stumbles past this rushed opening, it's a joy to watch the cat-and-mouse relationship between Dussander and Todd. Todd thinks he has the upper hand over Dussander, but he literally has no idea about the slumbering evil he's managed to awaken until it's far too late. Meanwhile, Dussander is initially a pitiful man, desperately trying to forget the atrocities he's committed . . . but the pity doesn't last for long. Once Todd forces the old man to acknowledge his past, Dussander realizes that he likes what he used to be – a monster. Both Renfro and McKellan are fascinating to watch as their respective characters; Renfro because he's so chillingly believable, McKellan because he runs the gamut from being a pathetic drunk to a devil reborn. Both characters struggle throughout the film to dominate one another, and that conflict – which, in essence, is the foundation of their twisted relationship – is what sets `Apt Pupil' apart from other films as something worth watching.

The main problem with `Apt Pupil', though, is that besides acting as a wonderful showcase for this evil relationship . . . `Apt Pupil' doesn't really go anywhere. In particular, the character of Todd Bowden doesn't go anywhere. More the fault of the script than of Brad Renfro, Todd never comes across as depraved. He's certainly evil – as some of the acts he commits in the film certainly show – but part of the film is about how monstrously depraved the Holocaust was. Todd is portrayed as a monster, someone who born in a different place and time certainly could have been a Nazi war criminal, but he does nothing to show that monstrous nature. I kept waiting for Todd to commit that one unspeakable act of pure evil that would truly make him Dussander's `Apt Pupil' – and never saw it. Without this unspeakable act, the audience never gets the opportunity to see that Todd really learned anything from Dussander. (Todd's slightly sick and twisted? No kidding! We knew that in the opening credits!) There's a few other things that bring down `Apt Pupil' as well; there's a chance meeting between Dussander and a hospital patient that seems entirely too fortuitous and coincidental; and the casting of David Schwimmer as the guidance counselor is just way, way off the mark.

The ending of the film `Apt Pupil' is markedly different from that of Stephen King's novella. In fact, the novella contains the `unspeakable act of pure evil' that I wanted in the film. Perhaps if I'd been unaware of the existence of the original novella, I wouldn't have felt that the film was missing anything . . . but I doubt it. `Apt Pupil' is a good, solid film that touches on some disturbing issues – but it could've been great, had it chosen to closely examine evil instead of just scratching its surface. `Apt Pupil' is a decent, if somewhat incomplete, movie. Grade: B-

"Apt Pupil" is well directed, with some interesting themes of power lust and evil feeding on itself, and great acting by Brad Renfro and Sir Ian McKellan, but I was put off by the very loose holds on reality. The plot alone is full of insane coincidences (a kid obsessed with the Holocaust just happens to bump into a Nazi war criminal, and that war criminal just happens to share a hospital room with one of his victims), but even the characterizations are a stretch. Renfro's character is very odd, and there is no given reason for why he is so naturally evil. And while it is hard enough to accept that McKellan would be bursting with evil 40 years later, with no hint of remorse (or even insight) about his past, it is completely ridiculous to assume he would be spending his evenings gassing cats and killing homeless people. The direction and acting make it worth watching, but in the end, I just couldn't take this overly serious movie seriously.

This critically acclaimed multi award winning Stephen King adaptation is a weird creature, a dark thriller tale which makes you question the definition of evil.

It tells the story of a boy who discovers that a neighbour is an infamous war criminal, a high ranking nazi responsible for the deaths of countless people. He decides to blackmail him, he is fascinated and wants to know more about the nazi history. But the more he learns the more he takes a turn for the worse and the mind games between the man and boy escalate.

Not only is Apt Pupil dark and highly thought provoking but its also oddly homoerotic, heavy undertones from several different sources and I cannot figure out for the life of me why these were included.

The cast is stellar and really helps the film, full of veterans like Ian McKellen, Bruce Davison, James Karen & Elias Koteas. Also along for the ride we have Joshua Jackson and Friends alumni David Schwimmer.

Despite this cast and despite it being a King adaptation I don't see the grand appeal. It's not a terrible movie it's just poorly executed and difficult viewing in places. As a psychological thriller it delivers and is very thought provoking. As nearly 2hrs of entertainment it kind of fails (For me anyway)

The Good:

Outstanding cast

Great concept

The Bad:

Deeply uncomfortable viewing

Unnecessarily homoerotic

Some of the movie defies logic somewhat

Many cast members are badly wasted as barely on screen

Things I Learnt From This Movie:

David Schwimmer with a moustache looks like someone who shouldn't be trusted alone with children, or animals, or even remotely sexy looking fruit

73yrs since they surrendered and 20yrs since this film and Nazi's are not only still a thing but going strong, this is a terrifying fact.

Apt Pupil is a movie of symbolism, it is a movie of metamorphosis, it is not a movie to be brushed off, taken lightly, nor is it to be watched if you want anything even remotely uplifting. It is a thoroughly depressing movie about corruption and the very root of evil. You'll find no plot summary here because you can scroll up slightly and find one. I can tell you Ian McKellen is one of the finest actors in the world and even solidifies that unlikely people like Brad Renfro and David Schwimmer can be incredible actors in their own rights. The movie poses several questions, almost none of which it answers and indeed might not have answers. It is, at it's core, about evil feeding into evil. The boy's evil reawakens the old man's evil, the old man's evil stokes the boy's evil and it continues to crescendo throughout coming to an incredible climax. A fascinating and thoroughly challenging movie.

High school student Todd Bowden (played by Brad Renfro) is an "apt pupil", who excels at just about every subject. After becoming obsessed with Nazi Germany, he suspects a man in his city (Ian McKellen) is a former death camp guard. Todd blackmails the man and they become friends... or so it appears. But who has power over who?

I really liked this film. I'm always wary of King movies, because so many directors have botched them. Bryan Singer ("X-Men") is not one of those directors, really capturing the crux of the story here and focusing on the Nazi elements. The imagery and symbolism wasn't overdone, yet not underplayed. I found every scene convincing (although I'm not sure how seeing a photo from the 1940s in Germany would make you suspect a man in America in the 1980s).

Aside from Ian McKellen (who is now best known as Magneto or perhaps his "Lord of the Rings" alter ego), the cast is just phenomenal. Joshua Jackson plays best friend Joey and David Schwimmer, whom I normally can't stand, plays the sexually ambiguous guidance counselor with a bad mustache. Even Elias Koteas (Casey Jones from "Teenage mutant Ninja Turtles") shows up as a homeless alcoholic, who really shines.

The tension in this picture is strong, as the bond between the two friends (or adversaries?) gets stronger. There are times where you don't know who's going to win the power struggle... and once the Israelis enter the scene, it gets even more complicated. You really don't want the Israeli police going after you (as we see in this film).

Anyway, this was a winner. It was in the favorites section of Family Video, and I can understand why. We had humor, drama and a touch of horror (no real romance, though -- maybe briefly). A more well-rounded picture would be hard to find for someone who likes movies off the beaten path... this film is unique.

I read the novella in high school, and I found it scary, disturbing, and a real grabber - I couldn't put it down until I was done.

As for the movie version, I'm sorry to say it doesn't work. While there have been much worse Stephen King adaptations, this is still pretty weak. Someone else here said it's been sugarcoated, and I agree. It's been watered down so much, that character's actions that were easy to understand in the book become "Whaa - why did he do that?" here. The ending is the worst part - though I can understand why they may not have been able to recreate the novella's original ending onscreen, couldn't they have thought of a new ending that was better than the one they used here?

The acting is good, one of the few things that works here.

In short: if you have read the novella, do NOT watch this movie - you'll be horrified in a way the filmmakers didn't intend. The positive comments here seem to come from people who haven't read the novella. I still wouldn't recommend this movie even for non-readers, but if you must watch this movie, I strongly urge you to read the novella after you've seen the movie. It'll really open your eyes (in more ways than one), and you'll see how much better the movie could have been.

In the late 1990's there was a small resurgence in interest in the work of Stephen King, who had been popularised in the 1970's and '80's as the prime horror author. What was slightly more interesting about this late reprisal, was that the stories were not directly linked to the horror genre, and led to one of the most loved films of the 1990's, The Shawshank Redemption (1994). Whilst this film did not do well in the cinemas, it made it's impact on video, and therefore the more dramatic, cerebral and often realistic King adaptation's were given the green light. Hot off the success of 1995's The Usual Suspects, Bryan Singer was brought in to direct this story of power over other humans, and the devastation this can cause.

Todd Bowden (Brad Renfro) is a top student in his high-school, and the film opens on a closing class focusing on the holocaust. The subject has clearly opened up something in the young man. Being convinced that there is an ex-Nazi officer living secretly in his neighbourhood, he decides to pay the man, Kurt Dussander (Ian McKellen), a visit. What transpires is that Todd had collected research on the subject, and uses this to blackmail Kurt into revisiting and verbalising his war stories, with particularly macabre focus on the killing of Jews. As the relationship between the two progresses it becomes clear that what fascinates Todd the most, is the power that was exerted over a people, and he has a hunger to know what this power is like. This begins with his power over Kurt; he revels in a display of power after he purchases a Nazi uniform for Kurt and makes him march on the spot. However the power that Todd exposes, is also resurfaced in the very isolated old man.

Well, as this is a Stephen King adaptation, the film obviously leads to murder. But the main theme of the film is the abuses of power, and the corrupting nature of power over others. It's a very interesting film, and Singer's direction is spot on. Seeing this now also highlights the loss of a very promising actor, Brad Renfro, who unfortunately died of a drug overdose in 2008. However, without any doubt this is McKellen's film. He is note perfect for this ageing, lonely man, who has had to live with his knowledge of the concentration camps for many years. The film does tend to lose it's effect at times, and falls into a clichéd trap; for example, after Kurt has attempted to kill a homeless guy, but has to get the young Todd to finish the job after suffering a heart attack, Todd repeatedly hits the tramp with a shovel - a jump moment proceeds as the tramp gets back up after 'being killed' - yawn. However, this seems mainly to be the fault of the narrative, and is easy to overcome, particularly with the two fine central performances.

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Apt Pupil is a film I might possibly consider watching again, if I didn't have much to do during the day and had absolutely nothing else to watch (including TV). It's one of those transitional films for a director- in this case Bryan Singer- where from one film that's a success to another there's a bridge in the middle that kind of floats and fizzles before getting a closer look. But it's possible too, as I remember it, that part of my problem initially with the film wasn't as much with Singer's work as a director as it was with (some of) the writing. Stephen King's story has a lot of potential, and its idea could have different directions in the scope of the tragedy and aftermath-style horror that comes with a Nazi survivor in everyday America. There could even be a Hitchcok element to it as well, with a man who has evil stored somewhere inside and now in a very average, American town (and, indeed, what evil thoughts might lie in such average-town inhabitants) And some of that potential is tapped, primarily in the very tense, underplayed exchanges between Brad Renfro and (of course) Ian McKellan.

In fact, I would most likely watch the film again more than any other reason for McKellan, who is good as usual (if not great), and tries his best to elevate the complexities of such a character like Kurt Dussander for the audience. But, again, the problem goes back to the writing, as in the third act the film goes completely off into more of a horror movie mode leaving some of the more serious and interesting questions left to muck around in the scenes where Dussander goes off the deep end. And, some of the horror brought to the film (and I would guesstimate most of it is from King's original story) is sub-par itself. King has written some great stories dealing with the horrors of humanity in the 'real' world, but Apt Pupil isn't one of them. With all of the effort put in by Renfro as the wayward, typically curious (and in this case un-hinged) teen, McKellan as the understanding and interesting but later truly monstrous figure, and Singer's competent direction, it's a shame then that the material itself wasn't totally taken into account. Worth a viewing once, at least for King die-hards who may find some extra enjoyment from seeing at least one unforgettable scene (where McKellan puts back on the uniform and gets into the 'mood' of the old-times), but it's far from being one of the better Nazi war criminal movies.

I waited a long time to see Apt Pupil and now I have finally watched it. I was disappointed a little because this was not what I expected, I expected something a little bit more fun but it is still good in it's own way. Ian Mckellen's acting is quite powerful and his German accent is fantastic. I mean, how can a English person speak like a German? Brad Renfro was exceptional but his death stopped him from achieving a successful career. Whats wrong with kids these days?

After finding out that his neighbor is a Nazi war criminal, Todd Brown (Brad Renfro),decides to blackmail him into telling him what he did in the concentration camps. Things are going his way and after a while things suddenly change to the worst.

Even though this movie doesn't have too much gore or violence it is still an awesome thriller. It is sometimes disturbing because the stories change Todd Brown into something more psycho. Often at time this movie can be a bit slow but then it starts to pick up and the process begins all over like with many other movies.

Final thoughts: There was definitely room for improvement but if you are watching out for a thriller about Nazis then this is definitely the one you should be seeing. Bryan Singer again has provided us with an eerie thriller which could not match with some of his other work. Stephen King's novel "Apt Pupil" is an inspiration to the movie. (7.5)

This film is not for the light of heart or of mind. The story is about a boy who learns that a Nazi war criminal is living right in his metaphoric backyard. Obsessed with learning more than just what they teach you in school, the boy sets off on a journey to discover "How did it feel?" The writing, based on a novella by Stephen King, takes you through the minds of both the boy and the Nazi. It's a battle of wits with real people being the pawns. This movie will mess with your mind. Do not watch it if you aren't up to the challenge. My hat goes off to Brandon Boyce and Bryan Singer, the writer and director, respectively, who seem to have interwoven the story and the audience. Never have I witnessed such an excellent display of psychological warfare.

APT PUPIL is the big budget film adaptation of the Stephen King novella of the same name, about an ordinary high school pupil who strikes up an unlikely friendship with a former Nazi. I remember the King story as being particularly chilling and disturbing given the subject matter, and it's no surprise the nastiness has been toned down for this big screen outing.

APT PUPIL isn't a bad movie and indeed it starts off rather well. Ian McKellen, just before he hit the mainstream with X-MEN and LORD OF THE RINS, is outstanding as the former Nazi forced to relive his murky past, and the scene in which he dresses up in the full regalia is inevitably the film's chilling highlight.

Unfortunately, at around the halfway point the movie starts to fall apart a little bit and the script lets it down. Brad Renfro just isn't a strong enough actor for the complexities of the lead role and McKellen isn't given enough to do in the latter stages. The excellent Elias Koteas bags a tiny yet highly sympathetic role and cult film fans may recognise James Karen in a one-scene cameo. But the story has been unforgivably altered and the lukewarm ending is a particular disappointment considering the potency of King's original climax.

Huh! I didn't quite appreciate this when it first came out, but I'm quite impressed with it now. I had no idea it was a King story either. But it does feel like one after a ways into it. I hadn't remembered it was even horror. I do think it could have delivered more pretty easily. I wonder if the original story does?

Either way, it's a haunting and unique piece well delivered. The kid isn't exactly incredible but gets carried with a wildly good experience from McKellen. As I said. It probably could have had more teeth, but it's way better than I expected and remembered. Probably because it is even more relevant today? Or more poignant anyway, with fascism flying flags all over these days.

I like movies based on Stephen King novellas. Occasionally I like films based on King's novels (e.g., The Shining), but two of my favorite films based on King's writings are Stand By Me and The Shawshank Redemption. Apt Pupil is based on a King novella and directed by Bryan Singer, the innovative director who gave us The Usual Suspects. Throw in a leading role for the rising star Brad Renfro (The Client, Sleepers) and a supporting role by British veteran actor Ian McKellan, and what more could a guy want? Plausibility, for a start. Not having read King's novella, I am not sure if I should blame him or rookie screenwriter Brandon Boyce, but the flaws in the film are in the story.

I often tell students in my film classes that there is no greater "sin" in filmmaking than to take a story worth telling and tell it poorly. Apt Pupil is about a bright 16-year old high school senior who becomes fascinated with the holocaust. Long after the subject has passed in his history class, Todd Bowden (Brad Renfro) continues to read and research. As a result of his intensive research, he becomes convinced that a reclusive neighbor is Nazi war criminal Kurt Dussander, former commandant of several concentration camps. Todd gathers evidence (including fingerprints and photos) and when he has assembled irrefutable proof confronts his neighbor with his past. Rather than turn Commandant Dussander in, however, Todd wants to blackmail him--not for money, but for stories. Todd wants to know "what they won't tell us in our classes." Todd wants to know what it felt like; he wants to hear the stories. Somewhat predictably, the evil from the past works its way into the present and becomes a cancer on the soul of both characters.

The basic premise of the film is interesting, the acting is excellent, and there are some nice touches in terms of cinematography. What keeps this generally good film from being a really good film is three plot points that are too contrived to elicit the willing suspension of disbelief in the viewer. The device that Dussander uses to turn the tables on Todd is a bit thin. Even thinner are two subsequent identifications that become problematic for Dussander. With a little more work I think the writers could have accomplished the necessary twists and turns in a manner that was not so thoroughly implausible.

In spite of this, the movie is engaging and certainly disturbing. It is disconcerting to realize that the human capacity for evil is so easily invoked. In light of recent hate crimes, the message of the film is an important one. I had hoped for something like The Usual Suspects meets The Shawshank Redemption. In the end, Apt Pupil is better than average, but a bit short of what it could have been.

With a few notable non-scary exceptions ("Stand By Me" and "The Shawshank Redemption"), Stephen King hasn't had much luck having his written work translated to the silver (or small) screen. And as one of today's most prolific and popular novelists, much of his work has been adapted. Not that I've seen all of it, far from it. But most of what I've seen has disappointed. Add to the list of disappoints, "Apt Pupil".

The horror in this film is not supernatural, but psychological. It chronicles the improbable story of a young teen who discovers that an elderly neighbor is an ex-Nazi death camp commander. Instead of dropping a dime on the old butcher, he blackmails him! And not for money, but for his insight, insight into the nature of evil. And this from a 14-year old? The story didn't wash.

The movie is created well, with decent acting, but the direction seemed to wander. At times I felt that the movie was taking a creepy, dark turn to plumb the depths of human depravity, then it would skip off into something more akin to a murder mystery. Sort of schizophrenic, as if the director wasn't quite sure of the type of movie he was making. I wouldn't recommend this movie.