Films based on King books tend to be hit-or-miss affairs with both critics and audiences. However, two movies that go against what the public thinks of as King stories--Stand By Me and The Shawshank Redemption--gained incredible critical and popular acclaim. The latter of those two movies, in fact, currently resides near the top of the Internet Movie Database's list of the 250 most popular films. Misery is also a member of that group of King movies. Though it's not a horror film, at least not in what is thought of as the usual King fashion, Misery is still horrifying in its own way.

The story opens with Paul Sheldon (James Caan), a wildly successful writer of gothic romance novels, finishing his first serious work. After typing the last page of his manuscript, he leaves his cabin in rural Maine and sets out for New York City. En route, however, he encounters a blizzard. His car flips off the road and he passes out.

When Paul wakes up, he finds himself in the remote home of his "number-one fan," ex-nurse Annie Wilkes (Kathy Bates). His legs are broken and he's in intense pain. Annie, who loves Paul's Misery romance series, is pleasant and caring (if a bit emotionally unsteady)--at first. However, when she discovers that Paul has killed her favorite character (the titular character, Misery), her previously pleasant behavior turns decidedly nasty. Suddenly, Paul has gone from patient to captive, and has no way of knowing if he'll survive Annie's "care." His only hope is to write a book that will resurrect Misery.

Misery is a very good movie, but not a great one, mostly because its director, Rob Reiner, doesn't seem to be too interested in enhancing the story's inherent claustrophobic qualities. Reiner is a director of talent, but his directing in this movie is unfortunately run-of-the-mill.

Of larger concern is the plot itself. The basic concept of the story is absolutely fascinating. The execution, however, isn't as remarkable--the plot of the movie seems rather monotonous. First, Paul's locked in his room. Then, still wheelchair-bound, he escapes to investigate the house. He races back to his room and locks the door before Annie catches him. Rinse and repeat. It doesn't quite work.

What does make this movie work, however, is the acting. James Caan gives a performance that verges on excellent. In a performance that is made up more of looks and gestures than words, Caan shows us his character's emotional progression from uncomfortableness to fear to contempt. We don't know a whole lot about Paul Sheldon, but Caan does manage to let us understand him a bit.

Kathy Bates won several awards--and rightfully so--for her erratic (that's a good adjective, in this case) portrayal of a crazed fan. Annie is at the far end of Borderline Personality Disorder--her personality is a mess of violent fluctuations in mood and behavior. Bates is very good at portraying the sweet, caring Annie, the one who wants nothing more than to care for someone whom she admires very much. She is also easily convincing as the other side of that same character, the side that loses complete control of temper, emotions, and a base in reality.

As a statement about fanatical behavior in relation to celebrities, Misery is in the ballpark, but it doesn't hit a home run. As a story, it's mediocre. As an idea, it's certainly intriguing. But as a movie? (1997/Nov 13, 1999)