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Such a frustrating disappointment

A waste of 90 minutes of my life

It's a feast for the eyes. But what really makes this dramedy work is the acting.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Taking her car to a local mechanic's, a woman and her son become trapped inside their car at the facility by a St. Bernard infected with rabies from a rat-bite and must find a way of controlling the dog long enough to let them get away alive while others begin looking for them.This here was really weak and barely has anything worthwhile about it. Among the many flaws here with this one is the fact that there's so little time here on the actual premise here since there's so much time taken up here on utterly useless and completely unimportant plot-points. There's basically nothing that provides any interest whatsoever here about the family nor their history here, as the lame backstory to show her adulterous ways produce zero enjoyable scenes while serving only to get the real-life husband a role in here but little more, while the convenient excuse of work troubles makes it so that there's a reason preventing his efforts to rescue them later and the fact this is so drawn-out, lifeless and not in the slightest percent interesting really makes this an utter pain to get through here. The other story lines here, from the mechanics' family leaving or the son being a whimpering coward isn't all that exciting either, and all-told they end up furthering another problem here in making the central plot-device so unsuitable to be supported in a film this long that there's the need to pad this out so excessively here that this all pushes the attack into such a late part of the film it's almost too late to care. In addition, the film is just absolutely lame about letting the dogs' condition go unnoticed simply so the whole setup can be put into motion here, as there's little about their distractions that shouldn't cause them to notice as one even makes mention of the dog and how he's been acting weird, but nothing else is done about it as they're too busy on nonsense issues that should've been dropped to deal with him instead. All of these issues here are all present namely to tell the tale that this one has such a lame un-feature worthy premise it has to submit such lame scenes here to make this long enough to be worthy of release as all of these hold this one down over it's lone, singular positive in the dog attacks. The relentlessness with which it's determined to get inside, clawing and scratching at the windows and windshield, charging at the doors and generally not letting them think about getting out by preventing the group from even opening the doors which are intense and really frightening. Still, it's only when he attacks as they're broken up by him resting off to the side that is enough to make it watchable.Rated R: Violence, Graphic Language and constant scenes of a child in danger.

There is always same kind of feeling about the movies based upon King's novels. They are intriguing, and makes you wonder throughout the entire movie. Also, details of the everyday life, some common aspects our lives were put very will in King's books as well as to movies in a highly creative way that it is highly unlikely to not to surprise even though what you are observing is pretty simple and a familiar occurrence. It's all because of King's imaginative, creative way of thinking solid and simple. You're going to witness here how a peaceful dog turns out to be something else, but the general atmosphere and the harmony of everything is worth your attention.

1983 was a bit of a bumper year for cinematic versions of Stephen King novels. In that year alone we had Christine and The Dead Zone as well as Cujo. It would probably not be unfair to say that Cujo is the least good of the three but in all honesty there isn't a great deal in it, with all being pretty effective and nicely varied horror films. Out of those three, and unlike most King horror films in general, Cujo is not a supernatural horror movie and is based on a plausible idea. A woman and her young son become trapped in their broken down car in a remote junkyard when a St. Bernard dog, made rabid by a bite from an infected bat, lays siege to their vehicle in a murderous mood.This one could be described as a high concept movie given the very basic nature of its set-up. In order to pad things out to feature length and to add some depth, we have quite a bit of character development in the first half of the movie, which focuses mainly on a dysfunctional family and the dramas that surround them. Once the action moves to the junkyard though, most of this is largely forgotten and the film essentially becomes an 'animal-attack' horror-thriller. Dee Wallace does some good work as the mother who has to deal with the trauma while having to comfort her young son, who it has to be said is involved in some pretty intense looking scenes which may have been quite full on for the young actor involved. But the scary scenes were often achieved by very clever editing, after all a St. Bernard is hardly the most threatening of beasts to base a horror movie on. The fast and clever edits do make this creature seem genuinely menacing. Less successful though was the soundtrack which compromised of a considerable amount of really terrible music which would have been better suited to a daytime TV melodrama than a suspenseful and thrilling feature film. But on the whole, this is a pretty decent and lean effort that gets the job done quite effectively.

Forget BEETHOVEN and any other shaggy dog story you may have watched or read - CUJO is the real deal. Based on one of Stephen King's lesser-known, earlier books, this is a non-supernatural horror-cum-thriller which centres around a large, lovable, dopey St. Bernard which gets bitten (right on the nose - ouch!) by a rabid bat and eventually goes on a savage spree of slaughter. Now, this is one scary dog. Getting progressively more evil-looking as the film progresses, it ends up as a huge, unstoppable monster with a little instinct and one covered in gore. Not a bad leap from the initially cuddly family pet it started off as. Definitely the scariest dog I've seen in a film, except maybe for that one in THE OMEN which was pretty damn frightening too.Unfortunately the dog Cujo doesn't figure too much in the first hour of this film, which is so caught up in boring character exposition that it almost forgets about the title character entirely, instead popping him up brief scenes throughout of him gradually getting dirtier and messier and more feral as the effects of the rabies virus take hold. Until the last half hour, which is one long set piece, we have to make do with everyday characters going about their not-very-interesting lives. Dee Wallace-Stone (THE HOWLING) is a cheating wife and mother, married to the boring Daniel Hugh Kelly. The pair have a bratty, whining little kid (another obnoxious child, here played by Danny Pintauro) who has asthma attacks at the most inappropriate times and keeps threatening to die (and by god, I wish he would). The rest of the small town hicks are fairly predictable folks, despite heavy attempts at characterisation to make them more interesting.The last half hour of this film is great stuff and contains numerous frightening scenes to make up for the lack of them in the first hour. Basically, Wallace and Pintauro are trapped in a car in the middle of nowhere whilst Cujo lays siege to them, smashing the car to pieces in some ferocious attacks that play on everyone's fear of dogs as unpredictable, snarling beasts. Very taut and suspenseful, this is a text book example of setting a movie in just one location and having lots of fun with it. The ending may be predictable but at least its clean and there's an (un)surprising twist to come at the warm-hearted family reunion in the kitchen.The acting is passable, yet nobody here shines much. Dee Wallace-Stone comes off the best and is given the most emoting as the housewife caught in the middle of a nightmarish situation and she puts in another strong turn. Danny Pintauro is saddled with a hateful character so it's not really fair to judge his acting (and can it be said that child actors truly act anyways?). Daniel Hugh Kelly is okay but has a boring character whilst Christopher Stone is badly miscast as the town stud (instead he resembles a neanderthal). Two familiar faces, lower down in the cast, are Ed Lauter and Jerry Hardin who would both go on to appear in THE X-FILES television series.Director Lewis Teague (ALLIGATOR ) handles the proceedings with some level of skill and he's assisted by the superior camera-work skills of Jan De Bont, who adds a glossy sheen to the look of the film. It's just a shame that, until the end, they don't have more interesting material to work with. The dog attacks are fairly brutal without being gory and, with the use of a few real dogs, a mechanical head (and even a guy in a dog suit at one point!) the film-makers create a convincing menace that becomes scary due to the realism. In the end, CUJO is a good attempt at a horror movie, albeit a rather dull one saved by the superior climax.