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He had this tendency to over emphasize some things which annoyed me. Also he could be hissy sounding. George on the other hand does the second best Roland under King himself. While doing the worst women voices. Frank really could do women's voices.
Frank's Detta Walker almost made me wreck the car, I was laughing so hard. It's exactly how I thought she would sound. Losing Frank Mueller's talent when he was in that motorcycle accident was a huge loss to the audiobook industry and its listeners.
He was a great performer of King's books. Agreed, and stop smoking whatever it is you are smoking. It's Frank Mueller and George Guidall. This is what happens when I get less than four hours of sleep and yet I'm up late the next night. I'll buy that as an excuse only because I'm running on about a 4 hour average myself. Except Roland. I have to agree with CK on this one Other than that, I absolutely love Mueller's reading! I started Salem's Lot a couple days ago. Good so far! I have only read that book once and it was years ago.
Oh god, and I thought I was the only one really!! I'm about to listen to the Dark Tower b7! It's fine, but after hearing 2 of the books read really good, George has just been urking me lately. But cool, book 7 here I go. I just voted Will there be a complete edition or a re-recording?
I don't have any idea why only 14 of the 20 stories are recorded on this set. I doubt that we'll ever see a complete audio set if we haven't up until now. I'd never say never, though. Seems as though the only actually unrecorded story is "Trucks".
It's strange that the set is being billed as "unabridged" but what else do you call leaving off four stories, not to mention the introduction. I think by "unabridged" they meant none of the stories included had been abridged, not the entire book. Weren't all of the stories on the old cassette releases. Mine are in storage so I can't check now, but I thought all the stories were there. Pablo is correct.
The only stories not on the original cassettes were, "Trucks", "Children of the Corn", "I am the Doorway" and "One for the Road" The only one not released seperately is "Trucks". Any versions not read by george guidall? The SK one might be better, but I couldn't listen to the guidall version, it made me yell at my cats :. Versions of King books? There are a whole bunch of the old ones not read by George. I meant DT, sorry that I forgot to specify.
I'm a spaz. Did we ever finalize a definitive list of recordings where King is reading his own work? It'd have to include even stuff like Carrie, where he reading the introduction. I'm a spaz You can find cassette versions with Frank Muller reading the first four. He was one hell of a talent and nailed the characters perfectly.
Especially Eddie. Matt have you listened to Different Seasons recorded by him? If not you must. I've only listened to Rita Hayworth and Shawshank Redemption so far, but he was just perfect for that story. I will pick it up for sure! The only reason you can get him on The Gunslinger is because it was revised.
You'll love it, I'm positive. I had read the story before listening to it, and I remember enjoying it. But after listening to Frank read it, I fell even more in love with the story. I think he did way better on his DT readings that Muller did :o specially for the revised Gunslinger. Hm apparently there is a recording of "Trucks"! You are forgiven, Heather ; and for the record: I have no idea what Captain America sounds like.
I just think Muller often sounds like someone who could be called Captain America no connection to the character :P. My apologies if there's already a thread like this--I would have thought it'd be here but couldn't find it. Anyway, the thread is to talk about the audiobooks--the reason I start it is because I've actually found all seven in one place at the same time.
All seven. Same place. Same time. Granted it was a library, but still--helps to know someone working there. So I guess, let me know what you think, what to listen for, etc.? I suppose this may have to be a spoiler thread--I've read the series so I won't be spoiled myself by anything anyone says, but mayhap a particularly likeable part of the audio version has to do with something that's a spoiler?
Again, sorry if there's already a thread like this and please direct me to it if there is. Heh, thanks Now that I actually know this thread exists I found all seven Dark Tower volumes on audiobook at a library, and so of course have checked them out--plan to start listening to them today. Lucky I came to the library just as it was opening--and that I know someone who works there! Since my job doesn't require too much networking via the phone I decided to retake the journey via audiobooks.
As King states in his afterword at the end of Wolves of the Calla, I believe that he in fact used his audiobooks to get reacquainted with the series, since you're "forced" to go along with the story and cannot skip any part or word. His narration is simply second to none and his voices for each character were in fact endorsed by S. King as what he would have thought the characters should sound like. Even his voice for the lobstrosities was simply awesome and I knew when I first started The Drawing of the Three that this guy would blow George Guiddall out of the water.
Not to knock George, he is also a great narrator, his voice for Roland was nothing short of perfect and I preferred his to Frank's. Sorry that was long, my central point: If they were to close the series at the end of Wizard and Glass in terms of the audiobooks , I would have been completely satisfied.
It was a proper book for Frank Muller to finish off the series, as I felt the books after simply were not on the same level of the first four. I sometimes go back to the scene before they depart again along the path of the beam where Eddie announces they are Ka-tet. His narration of that final scene is simply haunting and am thankful for his contribution to the series. Frank Mueller blessed the series, for certain.
His narration added a lot to the flavor of the story. I have been, for quite dome time, been listening to the DT series audiobooks. I am currently in the first 3rd of The Wolves of the Calla. One issue I have had with these books has been the narrator. Rather, I should say narrators, plural. I had gotten each audiobook independantly and hadn't, as I came to regret, stuck with the same narrator throughout the series. He does a good job and I am definetely into it,but he is not my favorite reader.
So join us as we list as many King adaptations as we thought humanly possible, starting from below the bottom of the barrel, all the way to some of the greatest films of any genre that have graced the screen. Hell, just the amount of sequels to Children of the Corn would have taken up a good chunk. In order to distill the list to as much of the basics as possible, here are some ground rules:. They desperately struggle to find a way back to their reality, but the infighting and paranoia makes this goal increasingly hard.
You can find other examples of this much higher on the list, but this shoddily executed and laughably over-the-top three-hour-long bad acid trip should be avoided at all cost. This cheapo Syfy channel adaptation pretty much follows that version beat-by-beat, but with an evenly lit gaudy aesthetic, some unintentionally funny over-the-top performances from the child actors, and pretty much nothing substantial to add on the version.
All this Canadian TV movie has going for it is that it has a surprising amount of gore for the medium and the time period. The stock characters, the lame synth score, and subpar acting turns this into a Stephen King adaptation that can be immediately ignored, even more so than Maximum Overdrive. How can a film hinged on bursts of illuminating heat be such a dimly lit, overly darkened representation of lesser choices whenever Teems dares deviate from the already dodgy source inspiration?
Firestarter is a soulless remake of an already iffy Stephen King adaptation that only makes changes for the worse. A straight-to-VOD revenge exploitation flick about a meek average joe Wes Bentley who is pushed to his limits by the horrific acts of a psychopathic criminal Christian Slater and in turn becomes a force for revenge. The direction lacks any energy and the technical execution is a smidge above film school levels.
Graveyard Shift serves as a cautionary tale, a scared straight program for any prospective King adaptation that not every single random word that he farts out is worthy of an adaptation, let alone a theatrical release by a major studio. What we get is a run of the mill in many ways literally B-movie giant monster flick about a mill worker David Andrews and his co-workers who are trapped in their workplace and have to battle a ridiculous monster to survive the night.
The unpleasantly dark and dirty cinematography makes it nearly impossible to tell what the hell is going on half the time, yet considering the poor design of the monster, this might actually be a positive. The premise of a possessed industrial laundry folding machine that eats people and draws its powers from antacid chewables Yep, you read that right can only work as ZAZ-style self-aware bit of comedy.
Co-writer and director Tobe Hooper gets the goofy part right, whether or not that was intentional is up for discussion, but he also takes this head-slappingly stupid idea too seriously. Hooper showed years earlier that he can handle an irreverent and playful horror-comedy tone with The Texas Chainsaw Massacre 2 , so what happened here? The original novel that this misguided mini-series is adapted from is so silly and derivative, that it could have worked on the small screen as an unintentionally funny bit of camp.
The Tommyknockers is basically Needful Things with aliens, where the addictive items that make the townspeople happy while stripping them of their humanity are created by an ancient species of extraterrestrials instead of the devil in a Max Von Sydow costume.
First of all, neon green is not a scary color. This was a Lifetime Channel movie, so what can you possibly expect from it? The flat, evenly lit execution, the cheesy music, the melodramatic performances even from Maria Bello, who deserves much better material , all make it obvious that this is a lot more Lifetime than it is King. The Night Flier is usually listed as a theatrical feature. It was meant to be released in cinemas while it was in production, but was summarily dumped on HBO after it was finished.
Since it was never released theatrically, it counts as a TV movie. A lot of Stephen King short stories would have made for perfect minute episodes for a horror anthology series. The Night Flier is one of them. Ferrer RIP steps up to the plate as he always did, but his irredeemable jerk character is a one-dimensional cartoon without any depth. A priest character James Cromwell , who was a relatively minor figure in the miniseries, gets a much more beefed up presence here, and since a lot has changed concerning the amount of adult themes that can be explored in television between and , this version can more openly deal with issues like child molestation.
James Cromwell seems to be having fun as a vampire priest, but the rest of the cast looks downright disinterested. The story of a dickbag attorney Is there any other kind in movies? But as a straight horror piece, it leaves a lot to be desired. First of all, since the anti-hero protagonist is supposed to be obese at the beginning, in order to take full advantage of the striking visual changes he goes through during the story, Burke is fitted with one of the most cartoonish-looking fat suits this side of Fat Bastard.
Holland seems to have been unaware of just how sub-par the prosthetics looked, since he has the brass balls to show the character naked in a brightly lit shower scene. The super-thin side of the make-up fares better, and the overall mediocre performances and execution prevents Thinner from being altogether awful, but this stupid or genius premise, depending on how you look at it, deserved a more exuberant take.
She finds a way to forgive him, as long as he promises to never cheat again. Give this material to a provocateur like John Waters and watch it shine. Unfortunately, this film, with a screenplay by King himself, takes this wild premise at face value as it attempts to build a traditional thriller out of it. Allen and LaPaglia are game as they bring out the absurdity of the situation their characters are in via admirably straight-faced performances.
LaPaglia is especially chilling as he discusses dismembering his victims with the same calm tone of a suburban husband droning on about his recent fishing trip. The overall execution, with a borderline Lifetime Channel cinematography and flat direction, makes A Good Marriage deserve its status as a straight-to-VOD product. My prize is learning how to be alone.
And I understand that this is, in fact, a story about Lisey coming into her own and learning to function as a One rather than half of a Two. But mainly, I just would like to have a story where we actually learn more about the spouse supposedly behind the writer. There was a way for this feature adaptation to retain the unsettlingly ambiguous tone of the original story while expanding the confines of the simple but promising premise, but it succumbs to the usual traps of such a project, adding a slew of unnecessary and predictable back-story and random supernatural mumbo jumbo to explain the mystery at the center of the story with annoyingly obvious and gratuitously overlong exposition.
Mercy is nothing more than a standard example of the possession horror sub-genre. With a slew of uninspired and atonal melding of King cliches, an ancient demonic presence that corrupts the souls of men, children with telepathic abilities, people discovering their inner monsters when trapped in a closed space, etc … , awkwardly crammed into a single story, Desperation gets as close as Stephen King gets to writing Stephen King fan fiction.
To this date, out of all the feature films that Frank Darabont directed, the only non-King adaptation is The Majestic. Mick Garris is the TV equivalent of Darabont, and Desperation is his worst and least-focused adaptation. The story of a woman Annabeth Gish who gets busted for marijuana possession by a demented sheriff Ron Perlman and taken to a town where everyone is dead in the middle of the street starts off promisingly enough, but soon devolves into a convoluted series of nonsensical and disconnected supernatural events, all of which are caused by an ancient demon named Tak I wish I was making this up.
Though it does improve slightly as it goes as its world becomes clearer and its laundry list of characters somewhat more distinguishable , its premiere episode and much of what follows—especially for those who are not familiar with the source material—is bafflingly executed.
The series is also violent, gross, and full of performative cursing and sexual content to remind you this is CBS All Access , baby. Nevertheless, the crux of The Stand is or should be an emotional investigation into the lives of those who are left alive post-pandemic. Influenced by two spirits, one good Mother Abigail, played by Whoopi Goldberg and one evil Randall Flagg, played by Alexander Skarsgard , the survivors begin to band together and choose their moral ground, with certain people elevated as leaders by each of the opposing forces.
Despite the show skipping all of the details, this is a fascinating idea to explore. Some people grill burgers in a big box store alongside other families, while elsewhere, outlaws gnaw on the meat of the dead. Instead of initially providing us with a linear present-day narrative and giving us episodic flashbacks for each of the characters we meet a la Lost , The Stand instead chooses to tuck flashbacks into flashbacks and then into dreams and back into flashbacks in way that is completely disorienting.
As opposed to many other miniseries based on his work, King himself was hands-on with this project, writing the teleplay adaptation himself and picking longtime collaborator Mick Garris to direct this four-and-a-half-hour behemoth. After a couple of hits of insanity, partly brought on by the ghosts in the hotel, Jack turns into an exceptionally unhappy camper with an appetite for chopping his family up into itty bitty pieces.
With a much bigger canvas to work with, King decides to explain pretty much everything, stripping the story of much of its mystery. More importantly, do you care? Tim Matheson is perfectly adequate as an everyman who returns to his hometown, only to be forced to face a dark secret from his past that involved a quartet of greaser bullies who caused the death of his brother.
As the ghosts of the greasers begin to haunt him, he has no choice but to fight them in order to protect his family. Director Tom McLaughlin showcases notable talent for stretching the tension during the first two acts, before the whole thing turns into unintentional camp as the ghosts transform into greaser zombies.
Stephen King and whimsy seldom mix, and Riding the Bullet is apt proof of this. In The Tall Grass begins with a killer Twilight Zone premise, then pulls a Richard Kelly by adding one convoluted piece of mythology after another while failing to develop its characters or themes beyond its initial idea. The moral of the fable is simple: People are willing to do horrible things to each other if it means getting exactly what they want in return.
This point is made very early on, and the rest of the two-hour runtime—three hours if you can get your hands on the TV miniseries cut—consists of episodic sequences where each character is given their wish, along with an evil deed they have to perform on someone else.
All that being said, director Fraser C. Unfortunately, director Fritz Kiersch is more interested in the lazy shock value of showing children dispose of adults in increasingly violent ways, than in any true analysis of how religious dogma can corrupt youth.
The kid actors deliver genuinely creepy performances that beg for better material for their talents. That makes it so much more ironic that the only parts of the film that truly work are those that have no relation to the supernatural story whatsoever. Here, when the monster is finally revealed, it looks like a teddy bear on steroids. Two words: butt monsters. With impressive names like these behind the camera, it should be no surprise that Dreamcatcher maintains an ominous tone while delivering some well-crafted set pieces.
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