His success is the movie’s success, as well as the best argument for how reliable and experienced actors can serve genre movies and why a good genre movie, like an old-fashioned ghost story, is something no one should be ashamed to enjoy. For long stretches it is essentially a one-man show, featuring a man as abused by a single room as anyone since Bruce Campbell went up to that cabin in Evil Dead II.
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In spite of the special effects, the filmmakers are smart enough to realize that the real foundation of this movie is going to be the innate intelligence and sincerity he supplies. It’s anchored by a harder-than-it-seems performance from John Cusack. This movie version of 1408 is a tightly-mounted and highly-competent ghost story which plays like a remix of some of his older hits. But King’s latter days have seen him frequently going over familiar ground at least he’s stealing from his own best work. Fewer authors have seen a busier post-“retirement” period than King, save perhaps Isaac Asimov, for whom death itself was barely an impediment to his publishing pace. There’s a scene in 1408, based on a more recent short story of King’s, which uses many of the same elements as that creepy scenario. One of my favorite passages in his writing comes from The Shining, as he describes a little boy in a dark pipe, listening to something come rustling towards him through the dead leaves something unknown, reaching for him with bad intentions. Stephen King has made a great deal of money from understanding the mechanisms of fear.
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Also: the most powerful kind of evil spirit is the kind that exploits our own weaknesses – our arrogance, our secret pains. For one: death does not always end something’s influence on your life. But a good ghost story is the embodiment of some powerful emotional ideas.
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These days anyone can punch up something weird in a computer and have it murder some ingénue, or bring in the gore makeup crew for some hip dismemberment. I admit to being partial to a good ghost story, because they are technology-proof. Jackson, Mary McCormack, Jasmine Jessica Anthony Writers : Screenplay by Matt Greenberg and Scott Alexander & Larry Karaszewksi, based on the short story by Stephen King