 "Everybody Knows" (copyright Mass Media) that Stephen was dissatisfied by Kubrick's "vision", so here The King (???) gets his chance to overlook (HA!) a version that is more faithful adaptation, less Nicholson has tantrum. Changes are largely cosmetic - mallet instead of axe; nothing instead of elevator filled with blud etc. Weber (is that how it's spelt??) actually holds it together quite well (most of the time) with an interpretation that shys away from histrionic "performance" in favour of A+ drama school audition (you can just imagine some tutor-hack emoting "FEEL the role - FEEL it!"). Poor old Rebecca is ludicrous - you can't take this woman seriously as a mother - trotting around like she's just stepped off an '80s PLAYBOY shoot - unless she's receiving a mallet to the abdomen. "Doc"?? At least the deeply tragic "talking finger" has been given the chop, along with the original's pathetic angry smallperson "redrum" sequence. Any atmosphere generated (difficult for this length & TV brackets) is soon dissipated by the ballroom display, although the latter image of these denizens (black metal "corpse paint" to the flippin' max...) beats the "nice party isn't it?" horses***. Nevertheless, the 217 woman has a creep-rating well higher than old Stanley's - great jumpshock bit too - sadly omitting the clinical "look at her thing" revelation of The First. QUESTION: is that delectable ballbreaker who attempts to seduce Jack at the party, the pre-suicidal form of the rotfish in the bathtub? Whatever the case, her Wonder Bra-esque (TM) outfit is a definite highlight(s). You may read another review, submit your own, or return home. |
