Gerald's Game Film Review

I don't consider myself a King expert, at least in the realm of his actual books. I've read The Green Mile (which was years ago) as well as one of his early works published under his Bachman pseudonym, Rage, which would have made a really effective "bottle film" and has themes that are more relevant today than ever.

But I've seen my fair share of adaptations. Brian De Palma's Carrie is probably in my top three of horror films, in terms of how effective it was at actually scaring me. There's a reason why Sissy Spacek and Piper Laurie got nominated.

Seeing as how King has three films to come out this year, I'd like to give my thoughts on Gerald's Game because it particularly exemplifies a case of wasted potential. I'd best describe the plot as having base level similarities to Misery. It's very simple, but as the film goes along, we get a strong sense of the central character (played wonderfully by Carla Gugino) having an existential crisis that is gripping even in the weaker points of the narrative. I was sucked in by the conversations she was having with her husband's spirit and the way that her mind is fighting against her keeps you going for the film's run-time. I don't want to say too much about that, but it's surprisingly clever how often the filmmaker's mess with you. It was thoughtful, brilliant, introspective, and emotionally gripping.

Then the last 15 minutes of the movie rears it's ugly head. SPOILER WARNING FOR BELOW.

I believe that King works best when things are kept simple. I've often heard his critics take issue with his longer works, because the page count isn't due to telling a strong complicated story, but instead he just throws ideas at you, losing faith in the simple concept which is already great. He has a tendency to muddle things with space turtles, giant spiders, and far too often satirizes the church in a way that only distracts from the stronger concepts of his work.

After having to watch Gerald's Game fall apart in the film's ending, I completely understand where his critics are coming from. Gugino's character, throughout the film, begins to develop stress induced hallucinations and there's a tall representation of "Death" that looms in at night. But she escapes this fear of Death and manages to get out of her situation without starving to death. We are then treated to an epilogue that only weakens the impact of everything that came before it. Turns out that tall representation of Death wasn't a hallucination, but a real serial killer with a physical condition, a longing for shiny objects, and a "Lenny" complex. The sentimental music swells up (in a film largely lacking music) as the filmmakers throw this entire other universe at you. It can only be described as hokey and unnecessary. I personally felt that they would've gotten away with rolling credits after Gugino crashes her car into the tree and stumbles out to wait for the family to go outside and help her.

C.U. on her face as she passes out.

CUT TO BLACK.

Sure, not everything would've been wrapped up in a bow, but it would've been better than this horribly misguided epilogue. Perhaps they were going for Total Recall's ending, but it just didn't fit with the tension of the sharp witted dialogue between Gerald and our damaged heroine.

I would personally recommend this film, but keep in mind that the best Stephen King adaptations are when the director (a la Kubrick and De Palma) knows which concepts are best kept in the film, and which concepts are best kept in the book.

B-