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Good story, Not enough for a whole film

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Receiving news his mother is dying, a college student decides to hitchhike out to go see her, but as he gets closer and closer to his goal he begins to feel a dangerous supernatural entity is playing games with him and vows to put an end to them before it's too late.This here actually wasn't that bad at times. the film is incredibly enjoyable and entertaining whenever there's something that occurs out on the road as a mind-game, as not only is something actually happening but the set-ups are unique and really enjoyable. Stumbling across the highway accident one is really good, as the supernatural payoff is highly entertaining among the believable chaos and panic at the scene, and the rabbit attack is a glorious one because of the film's sole use of animals amongst all the macabre imagery. Also interesting is the chase in the pick-up truck which starts off pretty tensely through the field before going into the junkyard, as well as the interplay in the car for the final ride as the word-play works wonders in the suspense of the situation followed by a couple great gore gags to keep it going. Likewise, the ending is pretty tense with the hospital race coming at the end of the last rather good car sequence on the road, and all of these fun scenes really start to pile up after awhile to make this quite enjoyable. Along with the general plot-line which is pretty unique and really creative, these here are what work for the film as this one here didn't have all that many flaws. One of the main ones here is that the film features a rather irritating trick of resorting for a flashback here at every opportunity, making for a very irritating habit of getting confusing when it shouldn't. The fact that it shows the family history as much as it does is one of the problems, but here it just throws useless scene after another detailing it, then it decides to throw in the flashbacks which barely makes it any better by going to a time that doesn't help revealing important information about the story or why anything is happening, and all they do is add to the confusion which is a really hard task to accomplish. What is also tough to understand is the motive for the main villain who initially appearing as a sort of Grim Reaper-like figure that spends half the running time talking away with the supposed victim and never tricks them into killing or any other vile activities as there were plenty of available times to do that to pad out the film's running time which really makes little sense here. Otherwise, the only other flaw here is the film's rather dreary pacing since it spends so much time driving around that this is locked in on a singular location for so much of the time that it feels repetitive quite easily which makes this one feel boring at certain points along the way. These are what hurt the film. Rated R: Graphic Language, Graphic Violence and Nudity.

How these aging actors cannot see how silly they look....anyhoo...we yet get ANOTHER one of Stephen King's lame adaptations from a short story...a moral Tale of Death that is a fine premise however it plays out like Garris took a gaggle of Stephen King's short stories, wadded them up and pasted the pages together...it really is a mess...there are maybe a couple of interesting scares but thats it...the first problem with the movie is lead Jonathan Jackson who definitely represents the dark and brooding "suffering" effeminate male who speaks in an annoying drone that is quite common for the Male of the 2000's..Jackson is just awful as the lead and cannot garner any empathy or sympathy with his drony lackluster acting...I think this movie was probably aimed at the conflicted early 20 somethings...the generation who all got a trophy for existing...the best eye opening parts of this movie was the campy performance of art teacher Matt "Max Headroom" Frewer...very funny and I thought appropriate..and the GORGEOUS Catherine Devine just sitting there as a nude model...that was about the only two scenes that animated me other than snickering at Barbara Hershey-Stein's pie hole....

Alan is a morose youth who hitches home from college after learning that his mother is dying. Not every driver is ideal though.Stephen King is probably my favourite author (in that I like both the general area he covers and also his style) and it is always interesting to see filmed adaptations of his work. Not always enjoyable, but always interesting. The problem is that it is easy to capture the physical events of his stories, but the best part of the writing is what goes on in the heads of the character. This adaptation of a short story tries to address this by various means, as a consequence of which you are never quite sure whether what you are seeing is real (whether now or flashback) or imagination, hallucination or the like.Mick Garris, who seems to be King's collaborator of choice, does the same sort of job here which he has done on so much of King's material - he produces a competent but relatively thrill-less TV movie. The problem here is that this is a cinema release, and so it seems reasonable to expect the stakes to have been raised. Apart from some bad language and a couple of bare breasts, it hasn't, and this film is not the one to result in my reconsideration of Garris as a journeyman director. Other directors do King much better (also, to be fair, many are no better than Garris).Incidentally, this isn't one of King's better stories: it recycles elements of Christine, The Talisman, and The Road Virus Heads North, to name but three.

I don't really understand what I saw while watching this film. I'm not sure whether it was intended as a character study, incredibly surreal or whatever.I'm not really sure whether the protagonist's paranoia was really supposed to be important, if so, the suspicions were justified when spooky things started happening, so... I repeat: I really don't understand.The antagonistic spirit tries to force on the protagonist a sadistic decision. Perhaps if, instead of watching weird stuff happen to the protagonist, we had been given more emotional investment in him, this might have been more effective.So the roller coaster shares its name with a metaphor for mortality. Right. But then what effect did literally riding the coaster have? Any? Very weird...The method of presents the protagonist's thoughts to the audience was inventive, but besides that I don't know what I could recommend about it. But then its probably among those films where reading about it simply can't substitute the experience of watching it.