Whether measured by quality, quantity, or any other conceivable metric, Stephen King is virtually unparalleled in the literary world. When it comes to translating his work to the screen, on the other hand, the results are uneven to say the least. With multiple films and TV series based on his writing being produced each year – to the point where his books are optioned before they’re even published – it’s no surprise that some adaptations slip through the cracks.
Following the success of their 2004 Salem’s Lot miniseries, TNT returned to the world of King with Nightmares & Dreamscapes: From the Stories of Stephen King. Filmed in Melbourne, Australia, the eight-episode anthology series aired as a four-week event – two episodes each Wednesday night – in the summer of 2006 before hitting DVD in time for Halloween that year. As with any anthology, the installments are hit or miss, but the unpredictability is part of the fun. Several name actors and notable filmmakers were involved, including some King alumni.
Five of Nightmares & Dreamscapes‘ episodes – “Crouch End,” “Umney’s Last Case,” “The End of the Whole Mess,” “The Fifth Quarter,” and “You Know They Got a Hell of a Band” – are based on stories from King’s 1993 short story collection of the same name, while “Battleground” comes from 1978’s Night Shift and “The Road Virus Heads North” and “Autopsy Room Four” are in 2002’s Everything’s Eventual.
Presented without any dialogue, “Battleground” is an intrepid choice to kick off the series – but it’s also the strongest of the eight episodes. Like a darker take on Small Soldiers, a hitman (William Hurt, A History of Violence) finds himself being attacked by little green army men toys and their weapons of war after killing a renowned toy manufacturer. Hurt’s wordless, solo performance carries the episode, with the ever-present score by Jeff Beal (House of Cards, Monk) helping to shoulder some of the weight.
The special effects are surprisingly strong for a network TV show at the time, but that should come as no surprise upon the realization that it’s directed by Brian Henson (The Muppet Christmas Carol), who harnesses the powers of Jim Henson’s Creature Shop. Writer Richard Christian Matheson (Three O’Clock High) sneaks in a nod to another famous killer toy: the Zuni fetish doll from 1975’s Trilogy of Terror, penned by his father, the great Richard Matheson. The episode earned Emmy awards for Outstanding Music Composition and Outstanding Special Visual Effects.
“Crouch End” is King’s tribute to H.P. Lovecraft, but director Mark Haber (Alien Cargo) and writer Kim LeMasters prove unable to render the cosmic dread on screen. Honeymooning in London, newlyweds Doris (Claire Forlani, Mallrats) and Lonnie (Eion Bailey, Band of Brothers) find themselves lost in Crouch End, a notorious area built on a place of ritual sacrifice that now serves as a portal to another dimension. It’s the only episode that goes full-bore into horror, but it’s a painfully generic genre outing even if you overlook the unflattering aesthetic and cheesy CGI.
One of King’s many stories about authors, “Umney’s Last Case” is a love letter to Raymond Chandler’s pulpy detective stories. It’s about a hard-boiled gumshoe circa 1938 whose world is upended when the author of his life reveals himself. William H. Macy (Fargo) plays both roles, earning himself an Emmy nomination for the dual performance. Director Rob Bowman (Reign of Fire) and writer April Smith embrace the Chandler pastiche, with King’s clever twist on the material subverting the tropes.
In “The End of the Whole Mess,” Howard Fornoy (Ron Livingston, The Conjuring) recounts the unbelievable story of his genius younger brother, Bobby (Henry Thomas, E.T. the Extra-Terrestrial), whose discovery achieves world peace before yielding dire consequences. Director Mikael Salomon (who helmed the aforementioned Salem’s Lot miniseries) successfully builds intrigue and emotion, save for the questionable choice to turn September 11th into a plot catalyst.
Instead of journal entries like in the original story, fearless King adaptor Lawrence D. Cohen (who also tackled Carrie (1976 and 2013), It (1990), and The Tommyknockers) turns Howard into a filmmaker documenting the story. It’s a smart approach for the visual medium, though it’s ultimately underutilized – the copious flashbacks are just that, rather than footage shot by Howard – and the impact of King’s written ending is missed.
“The Road Virus Heads North” is yet another story about a writer. King uses aging horror author Richard Kinnell (Tom Berenger, Platoon) as a conduit for his grievances about life in the spotlight before getting to the meat of the story. After purchasing a menacing painting at a yard sale, Kinnell soon discovers that it changes each time he looks at it, reappears when he tries to destroy it, and kills anyone that gets in its way. Director Sergio Mimica-Gezzan (Battlestar Galactica) and writer Peter Filardi (The Craft, Flatliners) deliver an interesting, if familiar, setup that lacks a satisfying conclusion.
“The Fifth Quarter” plays like one of the many Tarantino-esque crime thrillers produced in the wake of Reservoir Dogs and Pulp Fiction, which isn’t a bad thing. Jeremy Sisto (Wrong Turn) stars as a newly released convict whose dying friend tells him about a map that reveals the location of $3.5 million. Despite a desire to stay straight for his wife (Samantha Mathis, Broken Arrow) and son (Kodi Smit-McPhee, The Road), he goes on a dangerous quest for the money. Bowman directs again, this time from a script by Alan Sharp (Rob Roy), crafting an engaging tale of crime and greed.
Perhaps the most compelling episode of Nightmares & Dreamscapes, “Autopsy Room Four” draws inspiration from Louis Pollock’s 1947 short story “Breakdown.” The plot concerns a man (Richard Thomas, who starred as the adult version of Bill in 1990’s It) who has been pronounced dead but is still conscious as he’s brought into the morgue for his autopsy. Trapped inside his own mind, he’s completely immobile but able to think – and feel. Thomas narrates the character’s inner monologue, piecing together the events leading up to his presumed death. Salomon directs from a script by Smith, embracing a dark sense of humor without sacrificing tension.
“You Know They Got a Hell of a Band” features a classic setup that brings to mind The Twilight Zone (which is name-checked in the episode) and King’s own Children of the Corn. A husband (Steven Weber, who boldly assumed the role of Jack Torrance in 1997’s The Shining miniseries) and wife (Kim Delaney, NYPD Blue) on a road trip find themselves in a seemingly idyllic small town that harbors a secret: it’s inhabited by dead musicians. From Janis Joplin and Elvis Presley to Buddy Holly and Jimi Hendrix, the impersonations are fun, but writer-director Mike Robe (Return to Lonesome Dove) is unable to elevate the ordeal beyond the one-note gimmick.
Each episode of Nightmares & Dreamscapes: From the Stories of Stephen King runs about 45 minutes sans commercials, which proves to be a good length; it affords enough time to develop characters and establish stakes without having to pad the runtime. The show is not available to stream or purchase digitally – a lack of access that does no favors to its reputation – but the DVD set remains readily available for around $10. It may not be essential King, but I’d encourage any constant reader of his work to give Nightmares & Dreamscapes a shot.
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