{"id":68366,"date":"2017-09-07T16:21:38","date_gmt":"2017-09-07T13:21:38","guid":{"rendered":"https:\/\/ngradio.gr\/?p=68366\/"},"modified":"2017-09-07T16:21:38","modified_gmt":"2017-09-07T13:21:38","slug":"every-stephen-king-movie-ranked-worst-best","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/every-stephen-king-movie-ranked-worst-best\/","title":{"rendered":"Every Stephen King Movie, Ranked From Worst to Best"},"content":{"rendered":"<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii8wq000b3i5tf3dkpt3r@published\" data-word-count=\"91\">Stephen King\u2019s\u00a0work\u00a0has been adapted so many times \u2014 sometimes by King himself \u2014 that it\u2019s impossible to find a single unifying thread in all of the film adaptations. Sure, a lot of them are horror (certainly a lot of the worst are horror), but that\u2019s largely because the boom period for King movies was the 1980s, when he was known solely as a horror writer. As his canvas (and reputation) has expanded over the years, his work has been turned into dramas, comedies, musicals, and even a Bollywood movie.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii91y000e3i5tkgniseb4@published\" data-word-count=\"109\">Because of this dissonance, ranking King movies is particularly difficult:\u00a0<em>The Mangler\u00a0<\/em>and\u00a0<em>The Shawshank Redemption\u00a0<\/em>barely seem to exist on the same plane of dimensional existence, let alone on the same list of movies. But nonetheless, with the latest King adaptation,\u00a0<em>It<\/em>, opening this week, we gave it the old college try. (For the purposes of this list, we looked at theatrical releases only, and excluded\u00a0<em>Lawnmower Man<\/em>, an \u201cadaptation\u201d so vastly different from the original that\u00a0<a href=\"http:\/\/ew.com\/article\/1994\/04\/22\/stephen-king-wins-lawsuit\/\">King sued<\/a>\u00a0to get his name off it.) With one notable exception, you\u2019ll find the adapted movies turned out much like King himself: They got more serious and substantial with age.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii91m000d3i5tfyx9nphe@published\" data-word-count=\"153\"><strong>40.\u00a0<em>Maximum Overdrive\u00a0<\/em>(1986).\u00a0<\/strong>The one movie King ever directed, and \u2026 well, you know, Stephen King is a wonderful writer who should\u00a0<em>probably\u00a0<\/em>stick with writing. The movie\u2019s tone is set in the opening scene, in which a man (played by King) tries to take money out of an ATM, and the ATM calls him an asshole. Apparently, a comet has passed by Earth and given mechanical objects sentience, and once they attack humanity, Emilio Estevez helps lead a human resistance. The movie isn\u2019t even absurd enough to have fun with this lunatic premise, and King has zero skills as a director \u2014\u00a0visually, narratively, or in any other sense. King has called it the worst adaptation of any of his works, and we are not about to disagree. Though,\u00a0according to King:\u00a0\u201cI was coked out of my mind all through its production, and I really didn\u2019t know what I was doing.\u201d<\/p>\n<div class=\"divider\" data-uri=\"www.vulture.com\/components\/divider\/instances\/cj5tsut3900003k5tbfnqo0df@published\"><\/div>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9i5000n3i5tyr13l3z2@published\" data-word-count=\"63\"><strong>39.\u00a0<em>The Mangler\u00a0<\/em>(1995).<\/strong>\u00a0Of all the Stephen King adaptations, we must confess that this one has our favorite title. Boy, though, is this thing ridiculous. What, exactly, is \u201cthe Mangler,\u201d you ask? Well, the Mangler is a demonically possessed \u2026\u00a0<em>laundry press<\/em>! This setup leads to hilarious scenes of an angry laundry press pressing up and down, like a hungry, hungry hippo.<\/p>\n<p>https:\/\/www.youtube.com\/watch?v=ZBpMe19hdGY<\/p>\n<p><em>Eventually the Mangler develops legs and starts chasing people.<\/em><br \/>\n<em> It\u2019s all terrible, but, you never know, it might be your thing.<\/em><br \/>\n<em> Maybe you\u2019re into laundry-press cosplay. You do you.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>38.\u00a0<em>Graveyard Shift<\/em>\u00a0(1990).<\/strong>\u00a0<em>Graveyard Shift\u00a0<\/em>is as schlocky as low-budget horror films get. Its premise: Overnight workers at an abandoned-then-reopened textile mill keep dying, and no one can figure out why. Wanna guess why? We don\u2019t want to give it away. All right, they\u2019re being killed by \u2026 a giant bat! Because bats hunt at night, you see. (In the short story, it\u2019s a giant rat. Bats are much more cinematic.) This movie looks like it was made for about $35, but it does feature a truly insane closing credits song.<\/p>\n<p><iframe title=\"The Graveyard Shift - End Credits Song\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/s7K8UYX0UfE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii96h000h3i5txwn9db7y@published\" data-word-count=\"110\"><strong>37.\u00a0<em>Riding the Bullet<\/em>\u00a0(2004).<\/strong>\u00a0What was a thin, simple premise in King\u2019s novella \u2014 widely considered the world\u2019s first e-book, by the way, in 2000 \u2014 is extended to little effect in this drama about a man who tries to kill himself and then hitchhikes across the country to visit his dying mother. Director Mick Garris is an old King hired hand \u2014 he directed several of King\u2019s straight-to-TV movies, including\u00a0<em>The Stand\u00a0<\/em>and the version of\u00a0<em>The Shining\u00a0<\/em>that had Steven Weber, of all people, in the Jack Nicholson role \u2014 and he tries to make this into something much more portentous and profound than it really is.<\/p>\n<div class=\"divider\" data-uri=\"www.vulture.com\/components\/divider\/instances\/cj5tswb4i00073k5tli0vj2ib@published\"><\/div>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9ar000i3i5tsli037nc@published\" data-word-count=\"148\"><strong>36.\u00a0<em>Sleepwalkers\u00a0<\/em>(1992).\u00a0<\/strong>It\u2019s Mick Garris again (this was actually his first collaboration with King), hacking away at another King movie, this time with an original script from King. What are \u201cSleepwalkers,\u201d you ask? According to the\u00a0Stephen King Wiki,\u00a0they\u2019re \u201can ancient and forgotten nomadic race of vampiric shape-shifting werecats.\u201d In the movie, they\u2019re an incestuous mother and son who need to feed on virgin blood, and \u2026 well, you can probably guess where it goes from there. Amusingly, the Sleepwalkers cannot survive contact with simple house cats, which leads to all sorts of ridiculous scenes of our bad guy screaming in horror at the sight of Garfield. This movie is probably most famous for being terrible, but secondarily for having all sorts of horror-movie cameos, from King himself to Tobe Hooper to John Landis to Ron Perlman to Mark Hamill to Clive Barker to Joe Dante.<\/p>\n<p><iframe title=\"Silver Bullet | Werewolf Attack (ending)\" width=\"1170\" height=\"658\" src=\"https:\/\/www.youtube.com\/embed\/sU6cq6uoVbo?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><em>They really might have been better off just having a guy carry a mounted bear head around.<\/em><br \/>\n<em> You do have to admire a movie that casts Gary Busey as the doting, protective father \u2026 but only a little.<\/em><\/p>\n<p>&nbsp;<\/p>\n<div class=\"divider\" data-uri=\"www.vulture.com\/components\/divider\/instances\/cj5tswoht00093k5tpet5xjvq@published\">\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9bh000j3i5tayhx4zz1@published\" data-word-count=\"36\"><strong>35.\u00a0<em>Silver Bullet\u00a0<\/em>(1985).<\/strong>\u00a0Considered faintly ridiculous when it came out,\u00a0<em>Silver Bullet<\/em>\u00a0looks even worse now; the special effects and creature makeup are bad even for a horror movie from 1985. Need proof? How\u2019s this?<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9eh000l3i5tpc4k171x@published\" data-word-count=\"82\"><strong>34.\u00a0<em>Cell\u00a0<\/em>(2016).\u00a0<\/strong>The second teaming-up of John Cusack and Samuel L. Jackson in a King movie crashes and burns in a dumb cautionary tale about \u2026 well, about how cell phones are going to kill us all by sending a signal that turns us into murderous monsters. King wrote the book early enough (2006) in the age of portable technology that it seems helplessly dated by 2016. Our smartphones have come up with far more creative ways to kill us today.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia8l00103i5tv0yo1cfr@published\" data-word-count=\"115\"><strong>33.\u00a0<em>Dolan\u2019s Cadillac\u00a0<\/em>(2009).\u00a0<\/strong>This is not a documentary about a fancy American car belonging to the Knicks owner, though you have to admit it wouldn\u2019t be\u00a0<em>that\u00a0<\/em>surprising to see that show up at MSG some summer afternoon. Instead, this is a slight, limp crime thriller starring Christian Slater and Wes Bentley \u2014 years before each faded star would make a comeback \u2014 based off an old King short story that even he had probably forgotten. The movie tries to be a grindhouse schlockfest, but can barely work up the energy. This got a brief theatrical release before zipping straight to video, and has only ever been brought up again in lists like this.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9gs000m3i5to85031ug@published\" data-word-count=\"115\"><strong>32.\u00a0<em>Cat\u2019s Eye<\/em>\u00a0(1985).\u00a0<\/strong>This was made back when horror anthologies were all the rage, and King was at the center of them. The gimmick here: There\u2019s one cat that connects all three stories, two based off\u00a0<em>Night Shift\u00a0<\/em>stories and one written for the film by King. The biggest star at the time was Drew Barrymore, fresh off not just\u00a0<em>E.T.,\u00a0<\/em>but also\u00a0<em>Firestarter.\u00a0<\/em>But the best performance in the best vignette comes from James Woods, as a man who is so desperate to quit smoking he will try\u00a0<em>anything.\u00a0<\/em>The movie feels pretty dashed off, and it\u2019s more reminiscent of\u00a0<em>The<\/em><em>Twilight Zone\u2019s<\/em>\u00a0whimsy than it is scary. But there\u00a0<em>is<\/em>\u00a0a cat.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9il000o3i5tj7blglrg@published\" data-word-count=\"88\"><strong>31.\u00a0<em>Needful Things\u00a0<\/em>(1993).\u00a0<\/strong>You wouldn\u2019t think a moral fable about a possibly demonic shop owner (played by Max von Sydow!) wreaking havoc on a sleepy small town, pursued by heroic sheriff Ed Harris, could possibly be bad \u2014 but, alas, it is. With a better director than Fraser Clarke \u201cSon of Charlton\u201d Heston, Von Sydow\u2019s whimsical evil would have had menace and wit, but this plodding film has neither. How do you make Harris and Amanda Plummer boring? It\u2019s really hard!\u00a0<em>Needful Things\u00a0<\/em>somehow finds a way.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9v1000t3i5te8uvk0mv@published\" data-word-count=\"98\"><strong>30.\u00a0<em>Creepshow 2<\/em>\u00a0(1987).\u00a0<\/strong>The sequel doesn\u2019t feature George Romero behind the camera (though he did write the screenplay), but it\u2019s still based on King stories \u2014 albeit lesser-known, less-fun ones than the original. None of these are as scary or as inventive as in the first film, though \u201cThe Raft\u201d \u2014 in which horny teenagers get devoured by a creature from the deep lake in which they\u2019re swimming \u2014 makes us squeamish still today. This one did poorly enough that it would be 20 years until they made another one, and neither Romero nor King were involved.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiahe00183i5tn7pz0eyn@published\" data-word-count=\"108\"><strong>29.\u00a0<em>The Night Flier\u00a0<\/em>(1997).\u00a0<\/strong>One thing King hasn\u2019t written a lot about is journalism and media (at least, not until Twitter and the Donald Trump administration). He does try his hand at it with this adaptation of a short story about a schlock TV journalist (the late Miguel Ferrer) trying to track down a vampire. Ferrer\u2019s actually pretty great in this \u2014 he\u2019s a perfect seedy journalist \u2014 but the movie isn\u2019t smart or sharp enough to do much with him. King has said that Ferrer\u2019s character is the same \u201cRichard Dees\u201d who pops up as a shady journalist in\u00a0<em>The Dead Zone<\/em>, for what that\u2019s worth.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9r1000p3i5tull1wip0@published\" data-word-count=\"139\"><strong>28.\u00a0<em>Firestarter\u00a0<\/em>(1984).\u00a0<\/strong>Drew Barrymore had her first post-<em>E.T.\u00a0<\/em>starring role as a little girl who can set things on fire with her mind. Barrymore is able to make a mean-little-girl face with the best of them, even if the movie\u2019s a little too dark and scary for an 8-year-old (much like Barrymore\u2019s life at the time, actually). It\u2019s also not great; King himself said it was one of the worst movies based on one of his books. Fun trivia:\u00a0<em>Firestarter<\/em>\u00a0was originally supposed to be directed by John Carpenter, but the studio rejected him because\u00a0<em>The Thing\u00a0<\/em>had flopped. This movie would have been a\u00a0<em>lot\u00a0<\/em>better if it had been directed by John Carpenter. By the way: This was the only time George C. Scott, Art Carney, Martin Sheen, and Heather Locklear would share a screen together.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9r3000q3i5t74iarr58@published\" data-word-count=\"98\"><strong>27.\u00a0<em>Dreamcatcher\u00a0<\/em>(2003).\u00a0<\/strong>Otherwise known as \u201cthe movie where Lawrence Kasdan went off the rails,\u201d<em>\u00a0Dreamcatcher<\/em>\u00a0had everything going for it, from Kasdan to a William Goldman\/Kasdan script to Morgan Freeman and Thomas Jane and Timothy Olyphant. But the film is a total mess, start to finish: a mishmash of\u00a0<em>It\u00a0<\/em>and some military-thriller, monster-movie clich\u00e9s culminating in a junky special-effects ending that barely makes sense. It is bizarre that people this smart and this talented made such a misfire. For what it\u2019s worth, after this movie, there weren\u2019t any big-budget studio King adaptations until\u00a0<em>The Dark Tower.<\/em><\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5whtgz500003k5t8ed52u18@published\" data-word-count=\"193\"><strong>26.\u00a0<\/strong><a href=\"http:\/\/www.vulture.com\/2017\/08\/the-dark-tower-is-not-that-terrible-but-is-perfunctory.html\" target=\"_blank\" rel=\"noopener noreferrer\"><strong><em>The Dark Tower\u00a0<\/em>(2017).<\/strong><\/a><strong>\u00a0<\/strong>After years of false starts and, more recently, months of bad buzz, the long-anticipated adaptation of King\u2019s beloved\u00a0<em>Dark Tower\u00a0<\/em>series proves to be kinda dull, in the most inoffensive way imaginable. Actually, that\u2019s what\u2019s most disappointing about the finished film: At least if it had been outright terrible,<em>\u00a0<\/em>it might have been more memorable. We have no complaint with Idris Elba as the badass, square-jawed Gunslinger, who takes awkward teen Jake Chambers (Tom Taylor) under his wing, quickly realizing he has the power to destroy the Dark Tower and, consequently, the universe. But we have\u00a0<em>plenty\u00a0<\/em>of complaints with Matthew McConaughey, who plays the Man in Black as if he\u2019s still doing his goddamn suave-mumbling-mystic routine from his terrible Lincoln ads.\u00a0<em>The Dark Tower<\/em>\u00a0has\u00a0<a href=\"http:\/\/variety.com\/2017\/film\/news\/the-dark-tower-making-of-stephen-king-1202511835\/\" target=\"_blank\" rel=\"noopener noreferrer\">gotten the stamp of approval from King<\/a>, and the movie has cheeky blink-and-you\u2019ll-miss-\u2018em references to other King works like\u00a0<em>The Shining<\/em>,\u00a0<em>1408,<\/em>\u00a0and\u00a0<em>The Shawshank Redemption<\/em>. But the film never really gets out of the blocks \u2014 it comes across as merely the vague notion<em>\u00a0<\/em>of what an epic spectacle should look like, but without the audacity, vision, or soul of one.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9tz000s3i5tvw3tiphl@published\" data-word-count=\"129\"><strong>25.\u00a0<em>Pet Sematary<\/em>\u00a0(1989).\u00a0<\/strong>Considered by some to be King\u2019s scariest book,\u00a0<em>Pet Sematary\u00a0<\/em>becomes less of a queasy moral fable and more of a traditional horror, jump-scare picture in the hands of director Mary Lambert. King has never had much of an issue about putting kids in peril in his books \u2014\u00a0<em>It\u00a0<\/em>is basically entirely about that \u2014 but it\u2019s still a bit much to see a toddler being hit by a truck turn into such a pivotal plot point. Interestingly: This is, as far as we can tell, the only movie on this entire list to be directed by a woman, other than the remake of\u00a0<em>Carrie<\/em>. (Coincidentally, Lambert was friends with the Ramones and got them to write the titular song for the closing credits.)<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia9s00113i5tx6c556k1@published\" data-word-count=\"122\"><strong>24.\u00a0<em>The Dark Half\u00a0<\/em>(1993).<\/strong>\u00a0Directed by George Romero during that brief period in the \u201880s when he wasn\u2019t making zombie movies, this is one of King\u2019s \u201cnothing in the world is scarier than life as a writer\u201d movies. (King came up with it after he stopped writing books as \u201cRichard Bachman.\u201d) Here, a writer (Timothy Hutton) uses a pen name to author a series of best-selling novels, but after he retires the name and \u201cburies\u201d the fake author, the name comes to life and tries to kill him. It\u2019s a ridiculous premise that\u2019s played weirdly straight, but it does feature a loopy, fun performance from Hutton, against type. Overall, it plays out as the thin idea it was on the page.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5sii9vj000u3i5t47rxocv8@published\" data-word-count=\"67\"><strong>23.\u00a0<em>Thinner\u00a0<\/em>(1996).<\/strong>\u00a0This Bachman book always had a fun premise: Rich, overweight, asshole lawyer runs over a gypsy woman, whose father then curses him to lose weight until he disappears. But the movie isn\u2019t interested in any sort of moral tale, or in any sort of satire of capitalism \u2014 it just goes for the gross-out stuff. Imagine what David Cronenberg might have done with this.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia6c000y3i5temae9q1o@published\" data-word-count=\"134\"><strong>22.\u00a0<em>A Good Marriage\u00a0<\/em>(2014).<\/strong>\u00a0Based off a 2010 short story King wrote that was inspired by Dennis Rader, the BTK killer,\u00a0<em>A Good Marriage\u00a0<\/em>stars Joan Allen as a wife who discovers, after 25 years of marriage, that her husband (Anthony LaPaglia) is a serial killer. Allen\u2019s a tremendous, vastly underappreciated actress, and this movie gives her countless opportunities to showcase why. It\u2019s still oddly muted, neither pulpy nor psychologically twisted enough to rise to a level much higher than a TV movie. Rader\u2019s daughter, by the way,\u00a0<a href=\"http:\/\/www.kansas.com\/news\/local\/article2251870.html\">blasted King<\/a>\u00a0for exploiting her father\u2019s victims by using their story as the basis for his story, and ultimately for this film. It was her first interview since Rader was arrested, and she noted that Rader was, in fact, a big fan of King\u2019s writing.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia0q000v3i5tzc272eju@published\" data-word-count=\"140\"><strong>21.\u00a0<em>No Smoking\u00a0<\/em>(2007).\u00a0<\/strong>Remember that segment in\u00a0<em>Cat\u2019s Eye<\/em>\u00a0we were talking about earlier \u2014 the one in which James Woods plays a guy who goes to extreme lengths to quit smoking? Well, Indian filmmaker Anurag Kashyap made a whole Hindi movie about that concept. The movie does not directly credit King onscreen \u2014 though Kashyap has said King\u2019s 1978 story \u201cQuitters, Inc.\u201d was the inspiration \u2014 and it ends in nearly the exact same fashion as the Woods story. The movie is hard to follow if you don\u2019t already know the story and is considered one of the biggest disasters in Indian cinematic history. But it\u2019s not that bad, really, and it\u2019s ambitious in a way that the Indian film industry really wasn\u2019t at the time, which might be why it received such a poor reception upon release.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia1c000w3i5tgdlox5bl@published\" data-word-count=\"110\"><strong>20.\u00a0<em>Cujo\u00a0<\/em>(1983).\u00a0<\/strong>You have to admire the power that King had in the \u201880s: He could make a movie in which the happy ending is\u00a0<em>somebody shooting a dog.\u00a0<\/em>This is just your basic canine nightmare: Cute Saint Bernard gets bit by a rabid bat, goes insane, starts attacking and killing people. The movie isn\u2019t any more complicated than that \u2014 though it does have \u201cWho\u2019s the Boss?\u201d rug rat Danny Pintauro as the cute kid. Plus, there\u2019s a scene in which Cujo is trying to knock over a car that is as viscerally frightening as it is utterly ridiculous. Imagine a nightmare\u00a0<em>Old Yeller<\/em>. You could do worse.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siia65000x3i5ts0h1ovmh@published\" data-word-count=\"114\"><strong>19.\u00a0<em>Hearts in Atlantis\u00a0<\/em>(2001).<\/strong>\u00a0Okay, stick with us here:\u00a0<em>Hearts in Atlantis\u00a0<\/em>is a \u201cloose\u201d adaptation of a\u00a0<em>Dark Tower\u00a0<\/em>tie-in short story called \u201cLow Men in Yellow Coats,\u201d part of a larger collection about the baby-boomer generation titled\u00a0<em>Hearts in Atlantis<\/em>, which also has a short story in it called \u201cHearts in Atlantis,\u201d which has nothing to do with this movie adaptation. It\u2019s very confusing. Anyway, Anthony Hopkins plays an old man with a mysterious power bonding with a preteen boy, played warmly by the late Anton Yelchin. It\u2019s nice seeing Hopkins playing a relatively normal person, but the movie is too tame and respectful to explore some of its darker themes.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiab800123i5tfr5k4jlp@published\" data-word-count=\"83\"><strong>17.\u00a0<em>Secret Window<\/em>\u00a0(2004).\u00a0<\/strong>Made in one of those last moments before Johnny Depp turned\u00a0<em>entirely\u00a0<\/em>into a cartoon,\u00a0<em>Secret Window\u00a0<\/em>is yet another King story about writer\u2019s block, and it has more than a passing similarity to\u00a0<em>The Dark Half.\u00a0<\/em>This one has a darker ending than the book, in a way that has a nice Hitchcockian twist. But even in 2004, Depp was a little too twitchy an actor to play the Regular Writer Guy this movie needs him to be.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiabk00133i5t3a6qivez@published\" data-word-count=\"84\"><strong>16.\u00a0<em>Children of the Corn\u00a0<\/em>(1984).\u00a0<\/strong>It doesn\u2019t hold up\u00a0<em>quite\u00a0<\/em>as well as you might remember it, but that\u2019s probably for the best; for a certain generation of kids, \u201cMalachai\u201d was just about the scariest word in the English language. The movie\u2019s a little more hackneyed and obvious now, but its central idea is still an undeniably creepy one: possessed children with pitchforks. This was based on a short story initially published in\u00a0<em>Penthouse\u00a0<\/em>(before\u00a0<em>Penthouse\u00a0<\/em>was the literary juggernaut it is now).<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiae300153i5tnhsox6pj@published\" data-word-count=\"196\"><strong>14.\u00a0<em>The Green Mile\u00a0<\/em>(1999).\u00a0<\/strong>If part of the secret to\u00a0<em>The Shawshank Redemption<\/em>\u2019s success was that it told an epic story with a scarcity of bombast, Frank Darabont\u2019s follow-up film is where he starts to get a little too big for his britches.\u00a0<em>The Green Mile<\/em>, with its three-hours-plus run time, might as well be exhibit A for Hollywood\u2019s myriad overlong, self-important Oscar-bait dramas. And yet, if you can get past\u00a0<em>all that<\/em>, this adaptation is surprisingly emotional and sensitively acted. Tom Hanks plays Paul, a death-row prison guard who treats his job with near-religious solemnity, and Oscar-nominee Michael Clarke Duncan is John Coffey, his newest inmate, who just so happens to have magical powers. To be sure, there is too much stuffed into\u00a0<em>The Green Mile\u00a0<\/em>\u2014 woozy ideas about redemption, an affected sense of awe \u2014 and as touching as Duncan\u2019s portrayal of Coffey is, Darabont treats the character like a simplistic, irritatingly na\u00efve beacon of goodness. (He\u2019s in prison for murder, but don\u2019t worry: He totally didn\u2019t do it, removing any possibility of moral nuance.) Ultimately, what saves the movie is the cast and crew\u2019s expert devotion to its polished, well-meaning hokum.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siib69002u3i5t26yvayf3@published\" data-word-count=\"121\"><strong>13.\u00a0<em>Apt Pupil\u00a0<\/em>(1998).\u00a0<\/strong>Probably the worst thing that could have happened to\u00a0<em>Apt Pupil\u00a0<\/em>was Bryan Singer choosing it as his follow-up to the massively successful\u00a0<em>The Usual Suspects.\u00a0<\/em>It set the film up to be something bigger than it was ever meant to be. What probably could have worked as a small chamber piece about a former Nazi war criminal (Ian McKellen) and the teenager (Brad Renfro) who discovers him is blown up a little larger than required. It was Singer\u2019s passion project, and after it struggled at the box office, he made\u00a0<em>X-Men<\/em>, the first of what would turn out to be\u00a0<em>six\u00a0<\/em>comic-book-superhero films. An argument could be made that he hasn\u2019t challenged himself as much since.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiagd00163i5tjhrhou7y@published\" data-word-count=\"100\"><strong>12.\u00a0<em>The Mist\u00a0<\/em>(2007).\u00a0<\/strong>Frank Darabont ended his trilogy of King adaptations with this story of regular people trapped in a supermarket, fighting mysterious monsters from an enveloping mist. It\u2019s much less sentimental and more horror-oriented than Darabont\u2019s other films, but that works in its favor: It\u2019s a lot less moony and self-important than those films, even if it\u2019s not as good as either. There are some legitimate scares, and it has a terrific cast, including Thomas Jane, Marcia Gay Harden, Frances Sternhagen, and Andre Braugher. Other than\u00a0<em>Sausage Party,<\/em>\u00a0it\u2019s the best film set almost entirely in a supermarket.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiai500193i5tcjiyvitn@published\" data-word-count=\"93\"><strong>11.\u00a0<em>Dolores Claiborne\u00a0<\/em>(1995).\u00a0<\/strong>Kathy Bates says this, and not her crazed captor in\u00a0<em>Misery<\/em>, is her greatest performance, and she\u2019s pretty fantastic in this creepy, sad story of a family torn apart by a murder and the tumult behind it. There\u2019s nothing supernatural in this story \u2014 just decades of pain and repressed memories bubbling up, with Bates as the title character and Jennifer Jason Leigh as her tortured, tormented daughter. The courtroom-thriller aspect of the film doesn\u2019t work, but just about everything else does. It\u2019s a better movie than you remember.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiah500173i5t9joythj2@published\" data-word-count=\"131\"><strong>10.\u00a0<em>The Running Man\u00a0<\/em>(1987)<\/strong>. Adapted from one of King\u2019s Richard Bachman books \u2014 save for\u00a0<em>Thinner<\/em>, the only one of the official Bachman Books canon to be made into a movie \u2014\u00a0<em>The Running Man<\/em>\u00a0has almost no similarity to the novel at all. And thank goodness for that! Arnold Schwarzenegger is in full on \u201880s mode, to glorious effect, happily merging the silly and the grotesque \u2014 and it\u2019s a blast. The movie has some real-life reality-show resonance today, but even if you ignore that, it\u2019s just so much over-the-top fun that you won\u2019t care either way. The real thrill comes from Richard Dawson, playing a\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=xStvfbIddM0\" target=\"_blank\" rel=\"noopener noreferrer\">nightmarish version of himself<\/a>. It\u2019s one of the greatest over-the-top villain performances of the \u201880s. Who loves you, and who do you love?<\/p>\n<p><strong>9.\u00a0<em>1408\u00a0<\/em>(2007).\u00a0<\/strong>The plot of\u00a0<em>1408<\/em>\u00a0is the simplest thing: John Cusack is a writer who specializes in the paranormal and insists on staying in a hotel room that has driven everyone who has ever stayed in it suicidally insane. And that\u2019s all the movie is: Cusack sitting in that room, as reality slowly dissolves around him, going nuts in a way that only Cusack can. This makes for a genuinely unsettling thriller, directed with inventive weirdness by Swedish filmmaker Mikael H\u00e5fstr\u00f6m. The movie has four different endings, but none of them are\u00a0<em>that\u00a0<\/em>satisfying; it\u2019s the journey into madness that sells this one.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj77osqu400033k5ukk0qk6kz@published\" data-word-count=\"242\"><strong>8.\u00a0<em>It<\/em>\u00a0(2017).\u00a0<\/strong>The 1990 mini-series had the space to encompass both halves of King\u2019s epic tale of a group of friends in Derry, Maine, who do battle with the menacing Pennywise. But the Warner Bros. film sticks to the characters as outcast teens, whereas the planned sequel will flash-forward to when they\u2019re adults once again confronting this spooky specter. Remarkably, though, director Andy Muschietti\u2019s thriller doesn\u2019t feel incomplete without the second segment, more than capably delivering enough scares and emotional resonance \u2014 not to mention an ending that leaves the door open for the next installment but also closes this chapter with real power. Jaeden Lieberher (so good in\u00a0<em>Midnight Special<\/em>,\u00a0and so much better than\u00a0<em>The Book of Henry<\/em>\u00a0deserved) is superb as Bill, who falls for the tomboy Beverly (a believably troubled Sophia Lillis), right as their small town starts being plagued by strange disappearances. Tim Curry\u2019s portrayal of Pennywise was so iconic it was always going to be hard to top, but Bill Skarsg\u00e5rd\u2019s performance is perhaps even more inhuman \u2014 and, therefore, even creepier. As an exploration and deft manipulation of the fears that adolescents face from a frightening, uncaring world,<em>\u00a0It<\/em>\u00a0has a fantastic psychological undercurrent to its horror scenes. (In this movie, your darkest anxieties are coming to kill you.) And anyone still on the fence about\u00a0how goddamn unsettling clowns are\u00a0will finally understand\u00a0why the rest of us get the willies around them.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiatq002o3i5tbbq43do4@published\" data-word-count=\"178\"><strong>7.\u00a0<em>Stand by Me\u00a0<\/em>(1986).\u00a0<\/strong>The first non-horror King adaptation is one of the quintessential 1980s hangout movies about guys being guys, working through their male bonding rituals. It\u2019s also the only one with a dead body. Director Rob Reiner took his first step away from comedy to more dramatic fare with\u00a0<em>Stand by Me<\/em>, and got remarkably lucky by casting young actors Wil Wheaton, River Phoenix, Corey Feldman, and Jerry O\u2019Connell as best buds who go in search of a corpse in the woods during the summer of 1959. Terror doesn\u2019t await them \u2014 unless you count universal anxieties, such as puberty \u2014 and while the film is undeniably nostalgic for the unhurried drift of youth, it\u2019s also pretty smart about how seemingly minor adventures become, in hindsight, defining moments in a life. For all its modest pleasures,\u00a0<em>Stand by Me<\/em>\u00a0justifies its inclusion of the classic Ben E. King title song: They\u2019re both comforting declarations about the warm, unbreakable bonds of friendship. And, for what it\u2019s worth, it\u2019s the adaptation that\u00a0Stephen King likes the most.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiau5002r3i5tr22c7x4z@published\" data-word-count=\"138\"><strong>6.\u00a0<em>Creepshow\u00a0<\/em>(1982).\u00a0<\/strong>George Romero and King joined forces on the original horror anthology, a genuinely creepy, pulpy, and occasionally hilarious ode to old horror comics such as\u00a0<em>Tales From the Crypt\u00a0<\/em>and\u00a0<em>House of Mystery.\u00a0<\/em>One of these is dopey (\u201cFather\u2019s Day\u201d); one of these is terrible but features an incredibly strange and oddly entertaining performance from King himself (\u201cThe Lonesome Death of Jordy Verrill\u201d); one is good old monster-movie scary (\u201cThe Crate\u201d); one is a true \u201880s relic (\u201cSomething to Tide You Over,\u201d which features the amazing spectacle of Leslie Nielsen trying to kill Ted Danson); and one is still fantastic and skin-crawling today (\u201cThey\u2019re Creeping Up on You,\u201d with E. G. Marshall as a rich germophobe who will remind you quite a bit of our current president). It\u2019s inconsistent, but still a load of fun.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiatr002p3i5t7uuco5hp@published\" data-word-count=\"238\"><strong>5.\u00a0<em>Misery\u00a0<\/em>(1990).\u00a0<\/strong>Nearly 30 years after Kathy Bates won the Oscar for her performance in\u00a0<em>Misery<\/em>, it remains as surprising an occurrence as it did when the respected stage actress took to the podium to accept her prize,\u00a0<a href=\"https:\/\/youtu.be\/nByAshpybOo\">declaring<\/a>, \u201cI\u2019d like to thank the Academy \u2014 I\u2019ve been waiting a long time to say that.\u201d That\u2019s no knock on her remarkable portrayal \u2014 a perfect blend of menace and dark humor \u2014 but rather an acknowledgment that this isn\u2019t the kind of role that usually gets accolades.\u00a0<em>Misery<\/em>, a horror movie with a satiric streak, launched Bates\u2019s film stardom. She\u2019s fantastic as Annie Wilkes, the obsessive fan of Paul Sheldon (James Caan), a popular romance author who she holds prisoner in her home until he agrees to abandon his new manuscript \u2014 which she hates \u2014 and write something more to her liking. Annie could have been an easy, misogynistic monster, but in Bates\u2019s hands, the character is turned into a complicated portrait of obsession, revealing the dangers of losing oneself in the work of others. Bates is frightening in her stillness, which makes Annie\u2019s sudden bursts of violence all the more horrifying. But sneaky dark humor comes from the actress\u2019s malicious glee at landing such a rich role. Annie may be a lunatic, but she\u2019s also Paul\u2019s comeuppance \u2014 a clever reminder that vain artists can be held captive by their need for stardom, sometimes literally.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiatt002q3i5tzemq1fnl@published\" data-word-count=\"230\"><strong>4.\u00a0<em>The Shawshank Redemption<\/em>\u00a0(1994).\u00a0<\/strong>King has such a low opinion of so many of the bad movies made from his work, one assumes he\u2019d be fond of Frank Darabont\u2019s Best Picture\u2013nominated version of the early-1980s novella\u00a0<em>Rita Hayworth and Shawshank Redemption<\/em>. But King had his concerns about Darabont\u2019s screenplay: \u201cOh, man, no chance they\u2019re going to make a movie out of this puppy,\u201d the author told the Huffington Post he\u00a0remembered thinking. \u201cIt\u2019s too talky. It\u2019s great, but it\u2019s too much talking.\u201d King wasn\u2019t wrong: The film\u00a0<em>is<\/em>\u00a0too talky. But guided by its deeply likable leads,\u00a0<em>The Shawshank Redemption<\/em>\u00a0warmly and (relatively) understatedly walks us through its Big Themes: friendship, empathy, and that moment when a man decides whether to get busy living or get busy dying. Darabont\u2019s thoughtful character study sees incarceration as a metaphorical purgatory in which people find their true selves \u2014 a notion that has helped make\u00a0<em>The Shawshank Redemption<\/em>a now-permanent fixture at the top\u00a0of IMDb\u2019s user-voted best films of all time. Not surprisingly, the movie\u2019s rhapsodic online devotion has provoked an equally passionate backlash. Neither reaction does justice to this modest tearjerker, which, ironically, works best when it\u2019s muted and contemplative. Hardly a masterpiece and certainly not a sappy, populist embarrassment,\u00a0<em>The Shawshank Redemption\u00a0<\/em>is simply a solid, good movie \u2014 an assessment that will probably annoy people in both camps.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiby4002z3i5t8yzhaa2h@published\" data-word-count=\"177\"><strong>3.\u00a0<em>The Dead Zone<\/em>\u00a0(1983).\u00a0<\/strong>Perhaps the most underrated Stephen King movie\u00a0<em>and\u00a0<\/em>the most underrated David Cronenberg movie, this haunted thriller is basically the \u201cwould you go back in time to kill Hitler if you could?\u201d premise, put on film. Christopher Walken is the doomed Johnny Smith, a schoolteacher who gains the ability to touch someone and see their future after a car-accident-induced coma. This uncanny ability leads him to a senatorial candidate (Martin Sheen \u2014 inspired casting), who Johnny learns will someday become president and blow up the world. Cronenberg gives the whole movie a funereal pall: a sense that sad things are going to happen to good people, but there\u2019ll be a sad honor to it all. Real-world parallels between Sheen\u2019s Greg Stillson (who hires goons and thugs to push an authoritarian regime) and current presidents aside, the movie holds up splendidly today, not least of all thanks to Walken, who is as likable and leading-man-handsome as he would ever be. It\u2019s one of his best performances. Seek it out \u2014 it\u2019s still great.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiav2002s3i5t2lt7ykil@published\" data-word-count=\"264\"><strong>2.\u00a0<em>Carrie\u00a0<\/em>(1976).\u00a0<\/strong>King\u2019s breakthrough as an author famously\u00a0almost didn\u2019t happen. While working on\u00a0<em>Carrie<\/em>,<em>\u00a0<\/em>the struggling writer tossed his initial few pages into the trash, ready to abandon the idea of a telekinetic teen, until his wife pulled them out of the garbage and insisted he keep going. Director Brian De Palma turned that book into one of the singular teen dramas \u2014 which just so happens to also be one of the great horror films. Sissy Spacek is superb as Carrie, a small-town gal as terrified about her budding womanhood as she is of her shaming, religious-zealot mother (Piper Laurie, practically demonic). People think of\u00a0<em>Carrie<\/em>\u00a0as being frightening but, until its murderous finale at the high-school dance, the movie\u2019s dread has little to do with gore or body count. Rather, De Palma puts us into the paranoid mind of a young person, showing how her daily life is a waking nightmare that a lot of high-schoolers can recognize as their own: the pain of first love, the awkwardness of feeling like a weirdo, the strange changes in your body, the anxiety of figuring out popularity. Above all,\u00a0<em>Carrie<\/em>\u00a0is a beautifully calibrated, slowly escalating symphony of tension. By the time prom comes and Carrie sets her classmates aflame, it\u2019s both a relief and a shock. In the wake of Columbine, films such as\u00a0<em>Elephant<\/em>\u00a0and\u00a0<em>We Need to Talk About Kevin<\/em>\u00a0wrestled with the reasons why kids take up arms to express their misery. But\u00a0<em>Carrie<\/em>\u00a0remains the most disturbing and sympathetic film about the hell inside so many teens.<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siiayy002t3i5tues8y7et@published\" data-word-count=\"297\"><strong>1.\u00a0<em>The Shining\u00a0<\/em>(1980).\u00a0<\/strong>Perversely, one of the reasons that\u00a0<em>The Shining<\/em>\u00a0is such a beloved horror film is that Stephen King hates it so. \u201cI don\u2019t get it,\u201d he\u00a0said in 2014\u00a0about the movie\u2019s passionate fans. \u201cBut there are a lot of things that I don\u2019t get. But obviously people absolutely love it, and they don\u2019t understand why I don\u2019t. The book is hot, and the movie is cold; the book ends in fire, and the movie in ice.\u201d This is a large chunk of the movie\u2019s appeal: Director Stanley Kubrick took the basic idea of King\u2019s acclaimed novel and distorted it. Instead of a tragedy about a decent, flawed man who goes insane, we get Jack Nicholson\u2019s pathetic Jack Torrance, a grandiose, pompous ass who dreams of literary glory, dragging his unhappy family to a remote ski lodge, resulting in bloodshed and agony. Kubrick\u2019s film is a hell of a black comedy that satirizes the mediocrity of middle-class life: In the director\u2019s world, fathers are pitiful providers, mothers are blandly cheerful (while quietly suffering enormously), and the kids see far more than their parents do. But by stripping the story down to its core elements \u2014 supernatural powers, madness, claustrophobia \u2014 Kubrick opened viewers\u2019 minds to a treasure trove of possible interpretations, many of which were compiled in the wonderfully labyrinthine documentary\u00a0<strong><em>Room 237.<\/em><\/strong>\u00a0(Not surprisingly, King hates that movie, too.) But if Kubrick\u2019s\u00a0<em>Shining<\/em>\u00a0is so cold, why, then, do we keep revisiting it and devouring its details, enraptured over and over again by its meticulous construction and elegant horror? Is it, just maybe, that it\u2019s the only King adaptation that actually improves on the source material \u2014 giving us not just one way to look at the author\u2019s masterful work, but two?<\/p>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siibi9002w3i5tkfuu6x11@published\" data-word-count=\"22\"><em>Grierson &amp; Leitch write regularly about the movies and host a\u00a0<\/em><em>podcast on film<\/em><em>. Follow them on\u00a0<\/em><em>Twitter<\/em><em>\u00a0or visit\u00a0<\/em><em>their site<\/em><em>.<\/em><\/p>\n<\/div>\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siibi9002w3i5tkfuu6x11@published\" data-word-count=\"22\">\n<p class=\"clay-paragraph\" data-editable=\"text\" data-uri=\"www.vulture.com\/components\/clay-paragraph\/instances\/cj5siibi9002w3i5tkfuu6x11@published\" data-word-count=\"22\">Source:\u00a0vulture.com<\/p>\n<div class=\"divider\" data-uri=\"www.vulture.com\/components\/divider\/instances\/cj5tswoht00093k5tpet5xjvq@published\">\n<p>&nbsp;<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Stephen King\u2019s\u00a0work\u00a0has been adapted so many times \u2014 sometimes by King himself \u2014 that it\u2019s impossible to find a single unifying thread in all of the film adaptations. Sure, a lot of them are horror (certainly a lot of the worst are horror), but that\u2019s largely because the boom period ...<\/p>\n","protected":false},"author":6,"featured_media":68367,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4545],"tags":[6191],"class_list":["post-68366","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment","tag-movie-en"],"acf":false,"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Every Stephen King Movie, Ranked From Worst to Best - NGradio.gr<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/every-stephen-king-movie-ranked-worst-best\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Every Stephen King Movie, Ranked From Worst to Best - NGradio.gr\" \/>\n<meta property=\"og:description\" content=\"Stephen King\u2019s\u00a0work\u00a0has been adapted so many times \u2014 sometimes by King himself \u2014 that it\u2019s impossible to find a single unifying thread in all of the film adaptations. 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