1408

Just when you thought it was safe to check into a New York City hotel, along comes Mikael Hafstrom's chilling "1408." Not since Norman Bates terrorized guests at his motel has a paying customer received such treatment during a night's lodging. Although somewhat more cerebral than viscerally frightening, "1408" delivers its share of shocks and frights, and viewers will stay in their seats not to miss the film's twists and swerves. In a cruel blow to fans of 1970's soft rock, listening to the Carpenters' hit "We've Only Just Begun" afterward may stimulate nightmares and certainly will never be the same again.

John Cusack, a cynical writer who has sunk from producing intimate novels to hack work about haunted inns, is lured to a Manhattan hotel where room 1408 is off limits to visitors, because of its long history of inhospitality. With only a knapsack, but tons of baggage from family misfortunes, Cusack insists on a night in room 1408, despite the management's objections. Cusack… more »

Just when you thought it was safe to check into a New York City hotel, along comes Mikael Hafstrom's chilling "1408." Not since Norman Bates terrorized guests at his motel has a paying customer received such treatment during a night's lodging. Although somewhat more cerebral than viscerally frightening, "1408" delivers its share of shocks and frights, and viewers will stay in their seats not to miss the film's twists and swerves. In a cruel blow to fans of 1970's soft rock, listening to the Carpenters' hit "We've Only Just Begun" afterward may stimulate nightmares and certainly will never be the same again.

John Cusack, a cynical writer who has sunk from producing intimate novels to hack work about haunted inns, is lured to a Manhattan hotel where room 1408 is off limits to visitors, because of its long history of inhospitality. With only a knapsack, but tons of baggage from family misfortunes, Cusack insists on a night in room 1408, despite the management's objections. Cusack triumphs over the staff and settles into the chamber's banal decor, which he idly describes piece by piece into his pocket recorder for the intended article. The evening starts to look like a genuine snooze, when the room's unsettling turn-down service, a chorus from the Carpenters, and a radio that begins an ominous countdown unnerve both Cusack and viewers.

Although the "night in a haunted house" routine has been done endlessly since movies began, Hafstrom for the most part effectively plays his audience with an eerie, often jarring, soundtrack, clever cutting, and a minimum of effects. "1408" is a ghost story, not a horror or slasher flick, and, as effective haunting tales have shown ("The Haunting," "The Uninvited"), the unknown, the unseen, and the unexplained are far more frightening than CGI effects. Although reminiscent of "The Shining," another Stephen King adaptation, this film was evidently made on a modest budget. Thus, Hafstrom worked largely with a one hotel-suite set and one mid-level actor. Besides Cusack, Samuel L. Jackson also appears as the enigmatic hotel manager, who warns Cusack about the room, yet seems to know more that he shares. Cusack is fine as always and carries the film effortlessly and literally through Hell and high water. While perhaps not as scary as the premise suggests, "1408" nevertheless provides intelligent entertainment for lovers of old fashioned ghost stories.

While 1408 is certainly no Shining when it comes to Stephen King movie adaptations. Originality is certainly not 1408's strong point. Like Misery, The Shining and Secret Window, 1408 features another tortured novelist trapped in their own personal hell. I think Stephen King must seriously be running low on ideas. Never the less, I did enjoy this movie.
I liked the long build up the film creates before Cusack even gets to visit 1408. .And while in some films this can be tedious and put down to bad pacing, in 1408, it leads to such a sense of foreboding dread that you can almost feel yourself clutching at John Cusack as he proceeds down the corridor toward the room in an attempt to stop him entering. We're all too familiar with the 'don't go in there' horror film cliché, but never have I felt such fear for an onscreen fictional character before.
However, once Cusack has entered the room, the movie does become a little less well structured and paced. While the events that take… more »

While 1408 is certainly no Shining when it comes to Stephen King movie adaptations. Originality is certainly not 1408's strong point. Like Misery, The Shining and Secret Window, 1408 features another tortured novelist trapped in their own personal hell. I think Stephen King must seriously be running low on ideas. Never the less, I did enjoy this movie.
I liked the long build up the film creates before Cusack even gets to visit 1408. .And while in some films this can be tedious and put down to bad pacing, in 1408, it leads to such a sense of foreboding dread that you can almost feel yourself clutching at John Cusack as he proceeds down the corridor toward the room in an attempt to stop him entering. We're all too familiar with the 'don't go in there' horror film cliché, but never have I felt such fear for an onscreen fictional character before.
However, once Cusack has entered the room, the movie does become a little less well structured and paced. While the events that take place in the room do feature more than a couple of well placed, jump out of your seat moments, the fact that this is based on short story begins to show through the cracks. Plot holes quickly appear, the pace somewhat stalls in places, and things often become more than a little confusing in 1408.
Now this could be put down to the psychological nature of this sort of film, but having watched the film a couple of times it seems more likely that this is due to a lot unnecessary padding the story has received in an attempt to add a bit more depth to the story. The problem is that it doesn't always succeed in adding anything relevant to the plot, and by the end of the film there are a lot of unanswered questions. These questions beg you to watch the movie again in the hope you have missed something important. But the fact is you haven't.
In my opinion, if it wasn't for a strong actor like John Cusack then 1408 would undoubtedly be a colossal flop. Cusack is so amazingly watchable onscreen that you will probably not even notice a lot of these faults with the film. With a less accomplished actor at the helm, 1408 would probably have been a complete train wreck of a film. And while Sam Jackson's role as the manager is brooding and intense, he is only in the film for about 10 minutes leaving the rest to Cusack.
The other disappointment comes from this 'Director's Cut' Version' of 1408. This version is longer and a bit gorier, but for some reason completely changes the ending. And while essentially the ending still works, it is disappointing that the original ending is not on the DVD also. I mean imagine re-watching Star Wars, only for Luke's X-Wing to be blown to bits and having to watch the Death Star destroy the rebel base. It would be unforgivable. And the same can be said of this Directors Cut ending on 1408, especially when you can't buy the theatrical release in the UK.
Overall though, 1408 is still an enjoyable film. And while certainly no cult classic, it is still far superior viewing to one of the usual run of the mill teen horrors where you don't give a damn about any of the characters. While sarcastic and bitter, you can't help but like John Cusack's character, which is why I prefer the theatrical version. Take my advice and get the 1408 Collectors Edition from PlayUSA, as it contains both versions of the film. Then make up your own mind which is best.