The Dark Half

The Dark Half is an exceptionally entertaining film of its kind. Only Stanley Kubrick has ever adapted a King novel (The Shining) in such a way that the ending remains as satisfyingly spooky as the beginning. Read full review

The Dark Half retains its power, offering proof that King and Romero are a match made in horror heaven. Or is that hell? [23 Apr 1993, p.3]

King and Romero are a natural match, and though this isn't the best of the King-derived horror movies--The Shining and The Dead Zone probably are--it's close. Read full review

The Dark Half is another retelling of the Jekyll and Hyde story, but King and Romero fail to work out the premise of the story. [23 Apr 1993, p.C3]

The writer's desk intriguingly becomes a gladitorial arena for warring manifestations of the same personality in The Dark Half, George A. Romero's adaptation of Stephen King's 1989 bestseller, a classic Jekyll-and-Hyde story.

You'll see worse, but The Dark Half could have been darker. [23 Apr 1993, p.45]

It's an uncommonly mature and intelligent chiller, particularly in a period when the genre has devolved into wisecracking fiends and empty special effects showcases. Read full review

Now this is a terrific premise for a thriller, and director George Romero (The Night of the Living Dead) sets it up with skill and style. Unfortunately, the film's biggest disappointment is that it doesn't develop its preternatural opening theme. Read full review

For a while, The Dark Half is a compelling study, in chiller guise, of an artist wrestling with his creative demons. But Stark is a real terror only in the shadows. When he emerges, all we see is Hutton — in a showy makeup job — struggling to change his wimp image. Read full review

It's fun to wonder what Romero's realistic, no-frills cinematic style and jolting shocks would have brought to good King novels like Pet Sematary or The Stand. With The Dark Half, he tries hard -- it's his best directorial work in years -- but his reverence for the mediocre novel produces merely a serviceable thriller. [23 Apr 1993, p.G5]

As the movie gets longer, Romero's hand gets heavier and heavier, and by the climax he can barely lift it to hurl another cliche. The movie ends in the usual way, with lots of blood and Satanic special effects. [23 Apr 1993, p.3G]

The most frightening thing about this movie is that King and Romero actually thought it was scary. Read full review

Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film. Read full review

Romero's film starts out well and clearly benefits from some higher-on-the-line elements, ranging from the cast to the cinematography of Tony Pierce-Roberts (A Room With a View, Mr. & Mrs. Bridge). But like too many King transfers to the screen, it falls apart in the last reel. Read full review

The Dark Half never really comes to life, even in Romero's capable hands, this seemingly surefire story ends up stillborn. Read full review

George A. Romero, less Living Dead here than dying artistically, adapts Stephen King in a movie without a good half. [23 Apr 1993, p.4D]

One more Dr. Jekyll and Mr. Hyde story, done badly, even if the novel was written by Stephen-can-do-no-commercial-wrong-King, is not what the world needs. [23 Apr 1993]