Cebalord Very best movie i ever watch

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

lisakeys2003 As a considerable Stephen King fan, especially of his short stories, I was anxious to see this series. I bought the DVD set as I don't have cable and have watched it several times. While I agree with much of the content in the reviews, I have some notes to add. I guess I will go through each show... 1. Battlefield: Excellent. Special effects were of high quality. Agree with another reviewer that the people downstairs probably would've heard something...... 2. Crouch End: One of my very favorite of SK's short stories, however, I will regretfully agree that Claire Forlani's acting was atrocious and it did not translate well to the small screen at all. I completely agree with the commenter who said that what they envisioned in their mind while reading was much better than what was presented. I did enjoy the Melbourne scenery, though! 3. Umney's Last Case: Not my favorite short story, but well done thanks to William Macy. 4. The End of the Whole Mess: Rang true to the original story and was well executed. Yes, he could've done a bit more research on the La Plata population, but I guess time was of the essence. 5. The Road Virus Heads North: A great story by SK, remember it really effecting me when I read it, and quite frankly, this one really bit the big one. Something was missing for sure. 6. Autopsy Room 4: Good suspense, but I don't really think in real life that the hospital staff would be that disrespectful, inappropriate or pathetic. The attempts at sexual tension over the body were laughable. 7. They Got a Hell of a Band: Good story, but really should have picked a different story all together. It didn't really translate well. 8. The Fifth Quarter: Good story, well presented. Not horror, of course, but good just the same. Relatively happy ending for King. Hardly recognized Cody from Let Me In, what a great little actor he is.I wish they would do another, though. Call me a sucker for punishment.

jonathan45 The first episode set the bar quite high i thought. It starred William Hurt as a hit-man who is contracted to kill a toymaker. We are given very little information on his character or who is paying him to kill, indeed the episode is notable for having no dialogue at all. Returning to his modernist penthouse he is delivered a package containing toy soldiers, this gives him a smile but he dismisses it and goes about his business. But he is in for a night of hell, the soldiers are alive and are about to wage war, driving jeeps, shooting machine guns and bazookas and even flying helicopters!. The special effects are good for a TV show and it becomes quite tense as he dodges around the apartment using his wits to survive, sometimes getting the upper hand and other times not. I wont spoil the ending but suffice to say it was a clever little twist. This gave me hope for the rest of the series but i was in for a disappointment, the other episodes were all rubbish and i lost interest by the fourth one. Stephen King adaptations are always a mixed bag and these are no exception

george.schmidt Stephen King seems to be the proverbial limitless well of creativity, a modern- day Edgar Allan Poe/O.Henry with his twisted, original and ultimately unsettling tales of the human condition basted with science fiction, terror and eerie horror that has no equal with his contemporaries, often putting him in a class by himself. And that is also a conundrum since variably the adaptations of his works are often hit-and-miss with few classic exceptions in film ("The Shining" , "The Dead Zone"), television mini-series ("The Stand"), and now in the retro- anthology ala classics like "The Twilight Zone" and "Alfred Hitchcock Presents…" with his compendium of 8 tales with his unique blend of blatant uneasiness and sprinklings of gallows humor.The eight include:DISC ONE: "BATTLEGROUND" - One of the series better offerings featuring William Hurt in a dialogue-less interpretation about a professional assassin whose latest victim, a toy magnate, gets his revenge in the unlikely form of a package including a set of Army toy soldiers which come to life and wreck unholy havoc in his cold, efficient apartment in a battle to the death. The shrewd teleplay by Richard Christian Matheson (the son of legendary genre master, Richard Matheson - "The Incredible Shrinking Man") eschews chatter for chills (and a nice nod to his pop's most famous monster, the Zuni fetish doll from the TV movie classic, "Trilogy of Terror", makes a cameo (!) ) Directed by Brian Henson (son of Muppeteer Jim) employs CGI and green screen effect economically building enough tension in a familiar tale (I recall a similar effort in the '80s short-lived anthology series on ABC, "DarkRoom" with host James Coburn, featuring Ronny Cox as a Vietnam vet facing his ghosts in the form of tiny attackers)."CROUCH END" - A so-so adaptation about an American couple (Eion Bailey - best known for HBO's "Band of Brothers" and "CSI: NY"s Claire Forlani) abroad in England for a new job perspective who unknowingly wander into an odd, out- of-the-way town where things are not as they appear in this decidedly HP Lovecraftian twister. Kim Le Master's adaptation isn't bad but not very terrifying and director Mark Haber does his best with the limits of the plot. "Umney's Last Case" - William H. Macy has a field day in a dual role as a '30s era LA gumshoe named Umney who suddenly faces the fact that he is the imagined character of an author (also played by Macy) who decides to change his life for his creation's to escape his painful life. April Smith adds some fun to the mix in her take on the affectionate ode to pulp fiction while veteran director Rob Bowman ("The X-Files") gives the outing a polished look overall.DISC TWO: "THE END OF THE WHOLE MESS" - Arguably the best of the bunch, and one of my favorite unnerving King treats, about two brothers (Ron Livingston and Henry Thomas) who concoct a method of wiping out mankind's proclivities to violence with devastating results in a sharply skewed take on the old chestnut of messing with Mother Nature. Penned by frequent King adapter Lawrence D. Cohen ("It", "Carrie") and directed by Miakael Salomon (who helmed the second go-around TV mini-series of King's "'Salem's Lot", also for TNT), the chapter is a tight, nerve-shattering fix that Rod Serling would've gladly called his own."THE ROAD VIRUS HEADS NORTH" - Tom Berenger gives a mannered yet thoughtful turn as a King-like author who acquires a disturbing painting on a pit- stop during a road-trip and discovers its unearthly power : it's frequent changing of its portrait into a horrific prophecy. Peter Filardi (who wrote the aforementioned ""Salem's Lot" mini-series) manages to make things quite unpleasant and director Sergio Mimica-Gezzan (tv's "Prison Break") keeps things at a pulse-quickening pace."THE FIFTH QUARTER" - Jeremy Sisto plays a recently paroled con who desperately wants to go straight but finds himself immersed in a treasure-hunt of deadly intentions while his girlfriend Samantha Mathis tries to make sense of the whole damn thing for her man. Played as a morality play by Alan Sharp ("Rob Roy") and Bowman directing again making the proceedings a noose- tightening fable of a criminal's mind. DISC THREE: "AUTOPSY ROOM FOUR" - Classic ala Hitchcock offering Richard Thomas as a golfer bitten by a poisonous snake during a game and assumed to be dead, depicts his plight on the morgue table with his fate in the hands of his would be coroners. Well-acted by Thomas, who literally remains motionless in fear for an hour - no-easy feat- and enough taut, tension thanks to Smith and Salomon's expert teaming here."YOU KNOW THEY GOT A HELL OF A BAND" - The weakest of the series with Steven Weber ("Studio 60 on The Sunset Strip") and Kim Delaney (late of "CSI: Miami") as a couple on a road trip detouring into a "Twilight Zone" slice of Americana: a town inhabited by nefarious deceased rock-and-roll gods whose idea of heaven is really a living hell for its inhabitants. Quaint King and listless adaptation by Mark Robe make for a forgettable exercise in the cult of personality.

sternn01 1.] "The End of the Whole Mess" - Very well done. Spot on adaptation of a neat little story. Livingston's performance is perfect - heartfelt and desperate. Henry Thomas was good too. 2.] "Battleground" - When I first read this story (about 15 years ago) I thought it would make a great TV movie - not a feature film - but at the time, I didn't think the SFX of the day could pull it off. This was a pretty good effort though, and I loved the lack of dialog. Hurt is not too bad either. 3.] "You Know They Got a Hell of a Band" - Not bad adaptation. This was a good short story, one I always try to read when I pick up Nightmares & Dreamscapes. 4.] "Umney's Last Case" - Not bad story, Macy's performance pulled it off. I always wondered why the chose to adapt this one though, especially over some of Kings other classics. 5.] "Autopsy Room Four" - Again, great story, but the adaptation leaves a lot to be desired, and only because of the hokey performances, especially from Richard Thomas and Greta Scacchi. 6.] "The Fifth Quarter" - Good performance from Sisto, but again, why do this story over something like "Grandma" or "The Jaunte". 7.] "The Road Virus Heads North" - The only thing they got right was the painting. Everything else, including Berringer's performance, was cheesy. 8.] "Crouch End" - This was a good story, but the adaptation did not capture the creepy feel King brought out in the narrative. The performances were OK, and it started off on the right foot, but things quickly went south after they started wandering around the empty streets. I think director Mark Haber, just couldn't put his finger on what the point of that story was.