Since I've gotten away with confessing my relative apathy towards highly regarded horror classics The Shining and Suspiria, it seems perfectly safe for me to go ahead and admit that I've not yet seen Children of the Corn. I know, I know, that one isn't exactly in the same league as those two, but it does hold a reputation in its own right.

Now that a Sci-Fi Channel remake is getting into gear, I'll likely make a greater point of getting around to it (sorry it has to come to that, but call it somewhat of a personal trend). Monika Bartyzel brought up the first round of casting news, and now from Shock Till You Drop comes word that young actor Daniel Newman has been cast in the role of Malachai on the production, which just began filming in Iowa this week.

I'm going to take a stab and guess that an announcement of this singular import means that Newman will be playing the leader of the Children. If I'm wrong, you lot can go on and have your laugh, but if you're familiar with either Stephen King's original short story or the 1984 adapation, then I suspect that you get the idea of this Corn kernel.

Hey, why'd the laughter stop?

I don't know when exactly AMCtv.com's Sci-Fi Scanner blog came about, but after bringing us the news last week that Mathieu Kassovitz wasn't exactly happy over the final product that was Babylon A.D., they've continued their hot streak by landing an interview with "Lost" and Star Trek producer Damon Lindelof, who fessed up that he'd be just as eager to adapt Stephen King's series as he would be to see someone else do it.

"The Dark Tower is to me every bit as daunting an adaptation as the Lord of the Rings trilogy must have been for Peter Jackson, except we've got seven books we're looking at," said Lindelof, who then explained that doing that doing the films alongside the closure of Lost would be too challenging a task at the moment.

Not unlike Watchmen, King's series remains among the literary works that everyone else insists to me are positively OMG!-awesome and that I have yet to get around to (I know, I know). With any luck, I'll get to them before someone gets to the movies, which seems to be an inevitability with or without Lindelof's involvement.

[by way of Bloody Disgusting]

Is there a Joe Hill story that isn't optioned right now? I think even the ones unfinished on his laptop are optioned. Combine his name with that of his famous father, Stephen King, and it probably doesn't even have to have more than an opening sentence.

According to Variety, Throttle, the novella Hill co-authored with King, has been optioned by Nick Wechsler. It won't be published until 2009, in an anthology titled He Is Legend that will be dedicated to Richard Matheson. The story follows a father and son, members of a motorcycle gang, who are being chased by an 18-wheeler tanker truck.

Were you in The Shawshank Redemption? Did you work on set? Were you otherwise involved in the production? If so, you're invited to a 15-year reunion this August in Ohio. Someone having something to do with the 1994 Oscar-nominated film has put together a weekend-long event and a really snazzy website providing details. Oh, and if you're merely a fan of the movie but had nothing at all to do with its making, you can attend as well. A few of the things on the itinerary do cost an admission fee, but only because there are prison and museum tours involved, plus a concert featuring a southern rock band.

Many people consider The Shawshank Redemption one of the best films of the '90s, maybe even of all time, so there are likely plenty of people who'd be interested in a little trip to see the film's shooting locations and meet with extras and crew members who helped create the film. Apparently there aren't many people on board just yet, but if the word gets out to enough people, there's a chance of making this a huge deal. Maybe principal talent like Tim Robbins, Morgan Freeman, Stephen King and/or Frank Darabont could even make room in their schedules to make an appearance. And then, perhaps this can be a yearly thing, like Star Wars conventions and Lebowski Fest.

[via Pop Candy]

You know adaptations that don't merely modify the source material in details and plot mechanics but completely change its nature? Mikael Håfstrom's 1408 is like that. It's an interesting work, less in its own right than because it takes a virtuoso straight-ahead horror story and, in bringing it to the screen, turns it into a nuanced, downright surreal exploration of the protagonist's guilt and grief. You do not expect a film adaptation to tone down visceral thrills and flesh out emotional content. Nonetheless, here we are.

Stephen King's short story, part of the all-around-excellent Everything's Eventual collection (as well as the Blood and Smoke audiobook), is probably the scariest piece of fiction I've ever read. It begins in fairly conventional horror tones – a story about a haunted hotel room – but then moves on to something far more frightening. Ghosts can be scary enough, but you can at least understand them: they used to be like us, and in most cases they want something straightforward. What lived inside Room 1408 of the Dolphin Hotel – King's version – was nothing like that. We don't get specifics, but that's because we wouldn't understand them: the force that inhabits that room is so utterly, terrifyingly alien as to be beyond human comprehension. What Mike Enslin encounters isn't, it turns out, a "haunted hotel room," but an unfathomable cosmic terror that would have made H.P. Lovecraft proud. King does more than give us a scary story – he takes us to the edge of an abyss.

I was beginning to think that the big-screen adaptation of Dolan's Cadillac had once again slid into development hell. First there was Kevin Bacon and Sylvester Stallone. Then, last February, Dennis Hopper was in talks to play the mob boss, and production was going to begin that Spring. Now, we've got a new cast and a new start date.

The Hollywood Reporter posts that Christian Slater, Wes Bentley, and Emmanuelle Vaugier will star in the feature, which is being whipped up by Film Bridge International. This is, most definitely, not a cast I would have thought of. Dolan's Cadillac is a thriller about a man (Bentley) who is distraught when his school teacher wife (Vaugier) is murdered. She has seen a mobster, Jimmy Dolan (Slater), kill someone in the desert, and before she can testify against him, she is murdered. The widower then plans to get revenge on the Las Vegas mobster and his silver Caddy.

To think that I thought Eminem and Hayden Christiansen were an odd match. How on earth do you get from Hopper to Slater? I'm sad to say that this sounds like a desperate rush job now. I love Slater, and have really enjoyed Bentley, but this feels so very second-string. The new production start date: May 14.

That's right; everyone's favorite gore hound, Eli Roth (Hostel), is taking a vacation from blood and guts and trying something just a little different. Roth spoke with journalists backstage at the NME Awards in LA on Wednesday and announced his next project -- a PG-13 'disaster' flick along the lines of Transformers and Cloverfield. Roth told reporters, "This will be my first big-budget, PG-13, mass-destruction movie; I went total chaos and pandemonium." Roth didn't give many more details than that, but ever the self-promoter, he did tell reporters there would be a "big announcement" about the film next month.

So the obvious question is: Why the change of heart? This is the same guy who wanted topless beheaded chicks on his poster art after all. Roth said that, "I feel like I pushed the violence in R movies about as far as I can push it. I feel like I'm bled out. I wanna switch it up, everyone I know has been saying 'When are you gonna do a movie my kids can see?'" -- forget about kids, how about making a movie that doesn't make a fully-grown woman want to upchuck into her popcorn?

Just about anyone who follows horror has bemoaned the sorry state of the genre these days. Nearly everything is a remake, either of some 1970s or 1980s classic or of some recent Asian hit. The rare films that aren't remakes are simply lazy copies of whatever worked a year earlier, the current "torture porn" subgenre, for example. And hardly anything screens for the press, which means that even the studios now understand how low things have sunk.

The new film The Ruins likewise isn't screening for the press, but it is based -- of all things -- on an actual book! With pages! It's by Scott B. Smith, who many years ago wrote both the book and screenplay for the excellent A Simple Plan. The new movie inspired me to look up other literary-based horror movies (whether inspired by novels or short stories). Sadly, aside from Stephen King and the upcoming Midnight Meat Train (based on Clive Barker's short story), I couldn't find much good recent work, but there is plenty to choose from ...

Yesterday we shared some news from Fango: Mick Garris out and Joe Dante in as director of the Thirst remake. That's all fine and good, but you might be wondering exactly why the director switch was necessary. Well, I'll tell you: According to the same Fango report, Mick Garris' next project will be (get this!) an adaptation of a Stephen King story! Fans of either storyteller could tell you that Garris and King have previously collaborated on Sleepwalkers (1992), The Stand (1994), Quicksilver Highway (1997), Riding the Bullet (2004), Desperation (2006), and the (eventually) upcoming From a Buick 8. So this news hardly comes as a big surprise.

I hate to admit that Bag of Bones is one of those King works that I just kinda breezed through and forgot about fairly quickly, but maybe I'll give it a second spin once Mr. Garris starts organizing his cast and crew. If memory serves, the tale is a gothic ghost story noir romance sorta thing. Definitely not among Mr. King's most "fantastical" stories, but a pretty good book all the same. (I think...) More word on the Bag of Bones adaptation when it becomes public.

Warning: Spoilers for The Mist obviously follow.

Though it opened to an enormous collective yawn, I thought that Stephen King's The Mist -- just released on DVD -- was one of the very best films of last year. Perhaps more accurately, I thought it was a movie that Frank Darabont and Stephen King tailor-made for me. There were moments in it that completely embodied everything I love about the horror genre: when a disheveled, bloodied Jeffrey DeMunn barreled into the supermarket, yelling that "there's something in the mist," the terror in his eyes and voice chilled me to the bone. That intersection between the mundane and the fantastical, the film straddling the line between the world we know and some place far beyond our imagination, is what makes that moment, and many others in The Mist, so scary. It approaches its supernatural conceit with an unforgettable combination of horror and wide-eyed wonder.

Sky News reports that two prisoners -- Jose Espinosa, an alleged gang member awaiting sentencing for manslaughter, and Otis Blunt, facing robbery and weapons offense charges -- escaped from Union County jail in Elizabeth, New Jersey on Saturday night. Using improvised tools, the men removed cement blocks from two walls, squeezed through the holes, jumped to a rooftop below, scaled a 30-foot high wall and hopped a razor wire fence to escape from what was considered the most secure area of the prison. The men had only been prisoners for a couple of weeks. Pretty exciting little news story, isn't it? But why am I telling you about it on Cinematical -- the world's greatest movie news website?

Because the escape was apparently inspired by Frank Darabont's modern classic, The Shawshank Redemption! (Which was adapted from Stephen King's novella, but let's just assume these boys saw the movie.) You see, the inmates covered up their escape holes with photographs of women in bikinis! I guess had they used Rita Hayworth posters, it would have been far too obvious. In addition, they put dummies underneath their blankets to give the illusion that they were still in bed -- a trick I'm assuming they swiped from another awesome movie -- Ferris Bueller's Day Off. The escapees left a note saying "Happy Holidays," and thanking a guard they claim helped them escape. The jail -- and I'm sure many more to follow -- have banned posters and photographs from prisoners' walls. Espinosa and Blunt are said to be armed and dangerous, but if the movie taught us anything, they're probably just going to meet up on a beach somewhere and live out their days happily.

With The Mist coming out this week, which just so happened to get a solid review from our James Rocchi, a new interview with Stephen King has gone up on VH1, via MTV News. The discussion focuses on his relationship with long-term collaborator and Mist director Frank Darabont. In his review, James says: "The plot is vintage King, placing ordinary people in an extraordinary circumstance." This is precisely what King discusses -- praising why Darabont has been successful with his adaptations, via his "adult sensibility," and why some other directors aren't taking on his novels.

Specifically, he says: "A lot of times, filmmakers don't really seem to understand ordinary people. I think there's a reason that David Lynch has never made a Stephen King film, or John Waters, because they don't really get ordinary people. But Frank does." I'm going to go out on a limb here and say that's because they both do their own work, not adapt a popular novelist for mass appeal. Waters has made his career from unique stories about the quirks of society, so let's focus on Lynch. I presume King never watched The Straight Story, Twin Peaks, or most of his other work for that matter.

Reducing Lynch to someone who doesn't understand ordinary people is like someone reducing King down to a plebian, gory horror writer. Take Straight Story, Twin Peaks, or even the wilder works like Lost Highway. The two creators are much more similar than King would care to admit. The difference is that he tackles ordinary people with extraordinary happenings rationally and clear-cut, while Lynch is the postmodern artist of the theme. There's lots of "ordinary" people in Lynch's work -- it's just that he spins the arc in a different manner, one that's not always understandable. Alvin Straight is as "ordinary" as they come. As is many of the Peaks characters, or others. Most just go mad in maddening circumstances. Hmm. Sounds familiar.

I've said my peace, but what do you think? Is King the paragon of the ordinary, or are Lynch and he more alike than he realizes?

After mining the soft-and-fuzzy (and yet still kinda grisly) end of Stephen King's literary catalog with The Shawshank Redemption and The Green Mile, writer-director Frank Darabont may seem like an unlikely choice for tackling one of King's shorter, grimmer horror tales. After turning high-end King into Oscar statues and nominations, why go slumming in the shabbier-seeming sections of King's catalog? Darabont's proven he can warm our hearts with King's stories, but does he have what it takes to chill our blood with one of the author's less high-minded efforts?

The Mist answers that question with a firm "Yes," although you'll be hard-pressed to hear it over the shrieks and shouts coming from the screen and the audience. Darabont's made what can best be called a grade-A B-movie, full of jolts and jumps and classic monster-movie tricks played out with old-school showmanship and thoroughly modern special effects. The plot is vintage King, placing ordinary people in an extraordinary circumstance and watching to see who dies and who doesn't, who discovers hidden strength and who displays hidden madness. And no, The Mist is nothing new -- but it's superbly executed, and far smarter than it had to be. Apparently, Darabont read The Mist when it was published in 1980 and longed to make a film from it; instead, his debut was Shawshank, with The Mist in development limbo for years. The horror fan in me thinks it was more than worth the wait.

In a small coastal town, artist David Drayton (Thomas Jane) huddles in the basement with his wife Stephanie (Kelly Collins Lintz) and son Billy (Nathan Gamble) as a storm rages. The next morning, with the power out and downed trees everywhere, David takes Billy into town to get some food, some hardware to fix up damage to the house; it looks like the storm has passed, except for the weirdly dense mist rolling towards town. ... But, as the mist rolls towards the store, a man races in -- bloody and frightened. "Something in the mist! ... Shut the doors!" He claims something in the mist "took" one of his friends. It sounds insane. It is insane. But it isn't wrong. ...

Everyone up to speed on The Golden Compass rhubarb? Claims are that the new film adaptation tends to soft-shoe some of the pretty clearly anti-fundamentalist religion elements in Philip Pullman's source novel. Here's Ryan Stewart's Cinematical item on Nicole Kidman going public with the "watering down" last August. Now, on MTV's movie blog, director Chris Weitz reaches for a time-tested defense: "Philip Pullman likes to quote James M. Cain on this issue. Once, when somebody asked him if he was worried what a movie adaptation would do to his book, he said, `What do you mean? The book is right over there, on the shelf.'"

Now, let me digress for a second. The only time I ever met Allen Ginsberg (wonderfully played by David Cross in I'm Not There, BTW), I wasted my thirty seconds in his presence listening to the same comment regarding Cronenberg's Naked Lunch. When a sage like Ginsberg says this bit about the unruined book you listen. But here's other claimants: In the blog Sergio Leone and the Infield Fly Rule, a correspondent is complaining about V for Vendetta, a film disowned by the source writer Alan Moore: "I keep meeting people who love this movie and my only solace in my bitterness after seeing what they did to Moore's brilliant work is a quote from the author himself:

"Interviewer: 'How do you feel about Hollywood ruining your work?'
Moore: 'What are you talking about, they didn't ruin my work, it is right up there on the shelf.'"

Here, a person worried about the then-upcoming film of Lord of the Rings cites Stephen King as the one who knows where his unruined books are, right on the shelf; here, it is Larry Niven calming the fears of those who feel his book Ringworld will be ruined as a film. Just for good measure, from the Portland, Oregon blog "Book Pusher," is a list of five good books that are waiting to be ruined, and the best way to ruin them. Can you wait for the The Farrelly Brother's wild comedy Me Talk Pretty Some Day with Adrien Brody as David Sedaris (does the hero have to be gay)?
My point is: let's don't hear this time-worn excuse anymore. Here's one from Evelyn Waugh instead: "Each book purchased for motion pictures has some individual quality, good or bad, that has made it remarkable. It is the work of a great array of highly paid and incompatible writers to distinguish this quality, separate it, and obliterate it."

Oh man, this looks cool. There's a new trailer out for Frank Darabont's adaptation of the Stephen King novella The Mist, and you can check it out over at Yahoo. The novella first saw print in 1980 in a multi-author horror anthology called Dark Forces edited by Kirby McCauley, but probably reached its biggest audience as part of Skeleton Crew, a collection of King's stories. Those who have read the story will have plenty of ah-ha moments as the trailer bolsters the notion that the movie will be pretty darn faithful to King.

The story concerns residents of a small town trapped in a grocery store by an unnatural fog. To their horror they soon realize there are all sorts of things living in the mist, and this new trailer gives an up close and personal look at some of them, including some bat-winged gargoyle type thingies, insects too big to fear any bug zapper, and tentacles of unknown origin. When I first read The Mist I remember thinking the monsters were like something H.P. Lovecraft would have created, and sure enough these critters fit the bill. The scene with the soldier seems to be taking some artistic license, but I have to say I think the change is an improvement, providing a more believable bit of exposition. The trailer ends with several characters looking up at something with shock and horror, and I found myself cursing the fact that I will have to wait until the film opens on November 21 before finding out what they're looking at.