A Look at the 10 Best Stephen King Film Adaptations, From The Shining to It-Entertainment News, Firstpost
As Pet Cemetery returned to theaters this month, here’s a list of the ten best films adapted from the works of Stephen King.
Horror maestro Stephen King is known as much for his novels as for the film adaptations of his works. Along with a major work, adaptations of his works fall into both categories. Some movies based on his work are so bad they’re good. While some have become the greatest movies ever made.
Like one of his classic novels, Pet semataryBack in theaters this month, here’s a list of the ten best films adapted from his works.
support me is perhaps the most unusual of all Stephen King stories. Although known for its horror masterpieces, this story, in many ways, serves as a precursor to his masterpiece. THISbut is spared and devoid of any supernatural elements.
A simple coming-of-age tale of a few friends who are suddenly confronted by a corpse, it was adapted for the screen by Rob Reiner and starred River Pheonix. The film itself is one of those rare instances where the film adaptation itself is better than the original source material. Reiner focuses more on friendships, the humor of being a child and at the same time the horror of growing up in a world that is not permanent, where relationships are fleeting and how class differences start to become more important as we grow. Released in 1986, it marks the peak of the career of a filmmaker who also offered us nuggets like When Harry Met Sally and some good men.
Perhaps the most famous of the lot. by Stanley Kubrick the brilliant, adapted from the novel of the same name, is now considered the true Holy Grail of cinema. Yet few would know that when the film was released, King was not particularly happy with the adaptation and found the film cold, lifeless.
The film is all about atmosphere and architecture, with Kubrick’s keen eye focused on carefully constructed sets, through which he allows his ubiquitous camera to move seamlessly. Can anyone forget that memorable scene where young Danny Torrance pedals his tricycle through the interiors of the hotel, only to come across the appearance of these twin sisters? Notice how the camera – which replaces Danny’s perspective – moves with him. Kubrick used no jump scares, and yet when the twins appear, the effect on the audience is pure terror.
Adapted to the cinema by Frank Darabont, Shawshank takeover is now considered a classic, consistently ranked as one of the greatest films ever made. Unlike other King stories, this one doesn’t really have a supernatural element and is a scorching survival story, set in a penitentiary. Andy Defresne, sent to Shawshank State Penitentiary for the murder of his wife, must survive the harsh prison sentence. This prison drama has it all: violence, camaraderie, melancholy, and a twist at the end that will take your breath away. Moreover, the film has now become a cultural reference.
Directed by Brian de Palma, Carrie is the story of a young schoolgirl – played by Sissy Spacek – who is bullied and harassed by her peers at school, until she realizes she has telekinetic powers . Classic Stephen King stuff. Yet, in the deft hands of Brian de Palma, the film, with its lush cinematography, becomes so much more.
The thing about Stephen King that we all forget when we read his works is that the heart of his novels isn’t really the supernatural. The supernatural only accentuates the normal. It’s the latter that’s scary. Whether it’s growing up in support me and THIS or dealing with an abusive parent in the brilliant, this is what is at the heart of his works. In Carrie, de Palma maintains this aspect and gives us a portrait of a young girl’s fears as she matures into adulthood. The very beginning, when Carrie White starts having her period for the first time and is bullied for the same, sets the tone for what to expect from the movie. And boy, does it not disappoint! Highly recommended.
The 2017 film was just the first part of what is intended as a two-part adaptation of a novel widely considered Stephen King’s masterpiece. The film broke all box office records, even surpassing that of The Exorcist become the highest-grossing horror film of all time!
As an adaptation, the film tries to retain the essence of King’s novel, which was really a great metaphor for the horrors of growing up. And the film sticks to that. Pennywise – played to perfection by Bill Skarsgård – is as scary as we all imagined when reading the novel. And yet, horror aside, the film – just like the book – is about growing up in rural Derry, friendships, first heartbreak, meeting bullies and confronting demons in our own home.
Gerald’s game, in many ways, should be read and seen as a feminist text. The principle is simple. Gerald and his wife, Jesse, have been married for a long time. To spice up their marriage, they go to a secluded cabin and indulge in a bit of BDSM. Jesse is tied up, blindfolded. And at that moment, her husband had a heart attack and died. The story starts from here.
Told from Jesse’s perspective, the story then unfolds in her flashbacks, as she revisits her life and confronts the demons of her past. Adapted by Mike Flanagan, this 2017 Netflix movie retains the flavor of the novel, gives us enough scares to last a lifetime, and yet manages to move us in equal measure. It has to be a must-have watch!
Compared to the scale and scope of many King adaptations, Misery can appear as a bedroom piece. Basically, it is located inside a small house. But it flies away thanks to the exceptional performances of Kathy Bates and James Caan. Bates won an Oscar for her terrifying turn as Annie Wilkes, surely one of horror cinema’s most intimidating antagonists. Rob Reiner directed this adaptation, having previously tasted success bringing King to the screen with the memorable support me.
Misery explores the dark side of fandom and popular success. These attributes delineate the worlds occupied respectively by Wilkes and Paul Sheldon. When Wilkes saves Sheldon from a car accident and takes him home to recuperate, the clash of these attributes creates a particularly ominous atmosphere. The result is a harrowing, disturbing and brutal work of popular entertainment.
To this day, we cannot overcome the overwhelming euphoria we felt when Mist revealed its twist ending. Not just because it wasn’t planned at all. It was definitely a plus. But because it enriched and underpinned an already superior King adaptation. Frank Darabont, a regular at bringing the writer to the screen, crafted a human, if not entirely original, story that explored the spectrum of our emotional responses to a baffling situation.
A supermarket is surrounded by an otherworldly fog that is home to terrifying creatures. Customers must now come together and find a way out of this strange turn of events. Darabont added a healthy dose of politics, group dynamics, and emotional weight to the basic setup, taking Mist in places where he was rarely expected to go.
The green Line
Another Darabont film based on another King work set in a prison. Michael Clark Duncan’s John is the big beating heart of an emotionally sprawling, sometimes manipulative story. The green Line wants to move you, reduce you to tears. Not a single towel should stay dry.
He also wants you to believe. The real magic at the heart of this film about an inmate who appears to possess magical powers is the timeless truth of the cinema itself. The film invokes and invites the viewer to surrender. Despite its flaws, The green Line brandishes unparalleled faith in good old storytelling and soldiers undeterred by doubt straight to the hearts of the audience.
The great John Carpenter directed this story of a teenager who becomes obsessed with a car possessed by supernatural forces. It’s backed by the director’s electronic synthesizer musical score and eerie, wide-angle visions of suburbia. Now a cult classic, ChristinaThe absurd postulate of is justified by the acquisition by the machine of a distinct personality which gradually takes over the adolescent and the film.
Carpenter puts the car right in the middle of his film and lets it do the talking. The angry, vengeful, self-healing beast with seductive brilliance casts a spell too well known to the material world. The director invests his faith in the ridiculousness of the story’s premise, building on it a serious story reflecting his times.