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Dolphin Sandwich. 1408 is based on one of horror writer Stephen King's short stories. It stars John Cusack as a supernatural investigator who rents room 1408 at The Hotel Dolphin in New York. It is said to be a most haunted room and the scene of many deaths. He soon finds his scepticism tested to the max. Although it has deep themes of grief et al, this essentially boils down to one man in a room being plagued by psychological and physical attacks, with the intended chills and shocks surreal in presentation. It's all very twisty and big on conundrums, which makes a second viewing something of a necessity, whilst Cusack's performance is also reason to check in for another viewing. However, it's not the scary movie some have lauded it as, in fact it's more fun-house palaver than anything terrifying, but there's no doubting the intelligence and skill of the writing. The mind is a curious, wonderful and troubling thing, and 1408 wants us to know it. 6/10
Great watch, would watch again, and can recommend. While the setup is a little bleh, it serves a point, but I could literal start the movie at Samuel L. Jackson's office and be fine. Once in 1408, the intensity creeps perfectly. It really gives you the atmosphere of a cat playing with its food. It'll mess your head a little, but that's just from a great John Cusack delivery and wonderful cinematic display. And the ending is almost perfect: the are two minors points that could be bad, but they're unclear. As the manager said, "It's and evil room.
The storyline and basis of the movie is kind of dumb. It is entertaining though with a lot of weird and crazy stuff happening in room 1408.
(Watched the Theatrical version) 1408 is a solid psychological horror that pulls you into its dark and twisted world. John Cusack does an amazing job as Mike Enslin, a skeptic writer dealing with supernatural horrors while battling his own guilt over losing his daughter. His performance really makes the movie—he sells the fear, grief, and madness perfectly. That said, the endings are what really stood out for me. The theatrical version felt too neat and safe. Sure, it wraps things up nicely, but for a movie this dark, it needed something heavier. The director’s cut hit harder—it’s bleak and sticks with you. The haunting moment with his daughter fit the tone of the movie so much better. It kept the unsettling vibe that should linger after a film like this. The production was great too. The way the room constantly changes and traps you with Mike was done so well, keeping you on edge the whole time. Overall, I enjoyed it, but the director’s cut is the real winner for me. It keeps the dark, disturbing feel that a movie like this needs.
Previously lost exploitation film which chronicles the sexual journey of a teenager who introduces her own family to the liberated ways of the free love rebellion.
Adventurous filmmaker Carl Denham sets out to produce a motion picture unlike anything the world has seen before. Alongside his leading lady Ann Darrow and his first mate Jack Driscoll, they arrive on an island and discover a legendary creature said to be neither beast nor man. Denham captures the monster to be displayed on Broadway as King Kong, the eighth wonder of the world.
While doing a thesis about violence, Ángela finds a snuff video where a girl is tortured to death. Soon she discovers that the girl was a former student at her college...
A woman goes to a psychiatrist to find out about the strange dreams she's been having. It turns out that they're not dreams at all, but a plot by her husband to get her money and kill her.
Hedonist Frank Cotton finds a mysterious puzzle box that summons the Cenobites, who open the doors to a dominion where pain and pleasure are indivisible.
Mort Rainey, a writer just emerging from a painful divorce with his ex-wife, is stalked at his remote lake house by a psychotic stranger and would-be scribe who claims Rainey swiped his best story idea. But as Rainey endeavors to prove his innocence, he begins to question his own sanity.
After the death of his boss's wife, a young engineer faces the sudden psychological metamorphosis of his own wife, seemingly possessed by the soul of the deceased...
The murderous, backwoods Firefly family take to the road to escape the vengeful Sheriff Wydell, who is not afraid of being as ruthless as his target.
Sophie Jacobs is going through the most difficult time of her life. Now, she just has to find out if it's real.
Set in the South just after the US Civil War, Laurel Sommersby is just managing to work the farm without her husband, believed killed in battle. By all accounts, Jack Sommersby was not a pleasant man, thus when he suddenly returns, Laurel has mixed emotions. It appears that Jack has changed a great deal, leading some people to believe that this is not actually Jack but an imposter. Laurel herself is unsure, but willing to take the man into her home, and perhaps later into her heart.
Paul (Macfadyen), a prize-winning war journalist, returns to his remote New Zealand hometown due to the death of his father, battle-scarred and world-weary. For the discontented sixteen-year-old Celia (Barclay) he opens up a world she has only dreamed of. She actively pursues a friendship with him, fascinated by his cynicism and experience of the world beyond her small-town existence. But many, including the members of both their families (Otto, Moy), frown upon the friendship and when Celia goes missing, Paul becomes the increasingly loathed and persecuted prime suspect in her disappearance. As the violent and urgent truth gradually emerges, Paul is forced to confront the family tragedy and betrayal that he ran from as a youth, and to face the grievous consequences of silence and secrecy that has surrounded his entire adult life.