1408
The Horror Game: Letting Sleeping Rooms Lie
The Popcorn Reel Movie Review: "1408"
By Omar P.L. Moore/June 22, 2007
John Cusack as Mike Enslin and Samuel L. Jackson as Gerald Olin in Mikael
Hafstrom's "1408", which opened across the U.S. and Canada today. (Photo:
The Weinstein Company)
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You would have thought by now that when you checked into a hotel
room you had the right to ask about its history -- especially if you knew or
suspected that some strange things had been happening there. But it's not
Mike Enslin's fault if he's a horror writer and documenter of all the scary
hotels and haunts at which he has stayed. Ever the skeptic when it comes
to the authenticity of scary places, Enslin knows what he's getting himself into
in room 1408. But can he get himself out? While that question hangs
in abeyance, it's worth mentioning that the fault of a film's flaws, in this
instance those in Mikael Hafstrom's film, fall squarely on the shoulders of the
screenplay (written by Matt Greenberg, Scott Alexander & Larry Karaszewski,
based on Stephen King's short story.) "1408", released by The Weinstein
Company today across the U.S. and Canada, has one or two very light chills but
doesn't add up to the scares it promises. Another question: why would
someone want to stay at The Dolphin Hotel, a New York City hotel that has had
over 50 people die there -- let alone stay in room 1408 (where all the deaths
occurred)?
And one last question: why on earth didn't The Dolphin eliminate the room?
Gerald Olin (Samuel L. Jackson) the hotel's manager, explains to Enslin (John
Cusack) that the owners didn't want anyone to know about the dreaded room and
tried to keep it a secret. Apparently New York's news media (the biggest
media market in the U.S.) didn't want anyone to know either. All those
deaths and no reporter seemed compelled to report on the horrors (anybody
reminded of a present scenario like this?)
Enslin takes the challenge and the Hotel's mantra is that no one lasts in room
1408 for more than one hour. This is the script's one interesting hook,
and even that gets sabotaged into a gimmicky amusement ride of sorts.
"1408" takes us all for a ride. The film's recipe is red herrings, tricky
elements and some mental mischief. The film's cinematography (Benoit
Delhomme) is impressive, with golden brownish and pale, icy greenish hues that
were also present in David Fincher's films "Seven" (1995) and "The Game" (1997)
-- the latter film is very loudly echoed by "1408" in both its content and
style. As in "The Game", the protagonist in "1408" is tormented with his
painful past except here it is dangled in front of him like an oasis. When
Enslin gets ready to drink from it to become whole, all the sand in the world
replaces it. The horror of what he experiences in the room is more
compelling than the horror that we as an audience feels when watching "1408",
which works hard for the money (and a tip) but perhaps a little too hard.
(One last last question or five: Is "1408" a dream? Half a dream? A
living nightmare? Or a cruel joke? Or none of the above?)
John Cusack excels in "1408". His every man-type charm and occasional
deadpan and disinterested facial expressions work perfectly for this vehicle.
Mr. Cusack's Mike Enslin is someone we have little trouble identifying with as a
character who only wants answers to his questions. (Robert Downey, Jr.
would have also played the role well.) As for the acting of Mr. Jackson --
who is only glimpsed in a few cameo-like moments as Olin -- he has a gentle
sinister quality as he possesses Olin without overplaying him. Jackson is
a charismatic presence as always but as Olin he has shaved some of his trademark
warmth off the edges. Here, Mr. Jackson's character is a jester of sorts,
but he hardly ever laughs. Mary McCormack shows up as Enslin's estranged
wife and does what she has to do to keep this vehicle from careening off the
road. ("The Number 23" did just that back in February, but at least here,
the number 1408 isn't the focus of the film, and this film at least holds an
audience's interest.)
Granted, there are some extraordinary visual effects and you'll never hear The
Carpenters' song "We've Only Just Begun" in quite the same way again. The
song becomes progressively more eerie and disturbing as Enslin tries to get
himself together.
"1408" is enjoyable only for so long though, and not especially riveting or
memorable. If you liked Michael Douglas' unctuous Nicholas Von Orton
character wallowing in emotional torment in "The Game", then "1408" is for you.
But if you like your horror (and your hotel room) on the chilly side, you will
need to turn down the thermostat on this cinematic rendering.
"1408" opened today across the United States and Canada.
The film is rated PG-13 for thematic material including disturbing sequences of
violence and terror, frightening images and language. The film's duration
is one hour and 34 minutes. Tony Shalhoub enjoys a cameo in the film.
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