David Cronenberg's "The Dead Zone" is certainly one of the best -- if not THE best -- adaptations of any Stephen King novel on film. It holds up as well now as it did on its premiere over twenty years ago. Among its strengths are Jeffrey Boam's screenplay -- this adaptation catches all the essentials of King's story (losing only some of the mood-setting backstories), cuts some of the novel's dross, and adds a few spot-on creative tweaks of its own (e.g. the references to Poe and Irving, quite appropriate given hero Johnny Smith's profession).
The acting is excellent throughout, from the starring roles down through smaller parts such as the hero's parents. I also love the moody, haunting score by Michael Kamen, which is a masterly adaptation of, and variation on, a theme from the second symphony of Finnish composer Jean Sibelius.
Be forewarned, however, that "The Dead Zone" is no horror movie in the sense of featuring vampires, ghosties, werewolves, or zombies. It might be called a thriller or even, loosely, science fiction, in the sense that it operates from the hypothetical "what-if?" premise of precognition, or seeing into the future. It could even be called a tragedy. There is certainly a terrible sense of loss over the star-crossed love of Johnny and Sarah at the end of this doom-laden story.
The acting is excellent throughout, from the starring roles down through smaller parts such as the hero's parents. I also love the moody, haunting score by Michael Kamen, which is a masterly adaptation of, and variation on, a theme from the second symphony of Finnish composer Jean Sibelius.
Be forewarned, however, that "The Dead Zone" is no horror movie in the sense of featuring vampires, ghosties, werewolves, or zombies. It might be called a thriller or even, loosely, science fiction, in the sense that it operates from the hypothetical "what-if?" premise of precognition, or seeing into the future. It could even be called a tragedy. There is certainly a terrible sense of loss over the star-crossed love of Johnny and Sarah at the end of this doom-laden story.