The opening, meanwhile, is visually clever but not particularly engaging. Macy playing a pulp-fiction detective as well as the gumshoe’s emotionally damaged real-life creator and “The End of the Whole Mess,” a chilling sci-fi premise directed by Salomon about good intentions gone awry, starring Ron Livingston.
The two best hours come during the second week: Bowman’s “Umney’s Last Case,” featuring William H. But Stephen King, writing to beat the devil, will do your dreaming for you.With six directors involved (Mikael Salomon, who adapted “Salem’s Lot” for TNT, and “The X-Files” helmer Rob Bowman each take on a pair), the tone of the various tales proves highly uneven, and the quality certainly doesn’t measure up to “Zone” standards, hewing more closely to EC Comics adaptations like “Tales From the Crypt.” Fair warning: You will lose a good deal of sleep.
In story after story, several published here for the first time, he will take you to places you've never been before, places that are both dark and vividly illuminated. There's something here for readers of every stripe and predilection-classic tales of the macabre and the monstrous, cutting-edge explorations of the borderlands between good and evil, brilliant pastiches of Chandler and Conan Doyle, even a teleplay and a non-fiction bonus, a heartfelt piece of Little League baseball that first appeared in The New Yorker. The long reach of Stephen King's imagination and the no-holds-barred force of his storytelling have never been so richly demonstrated. What does it all mean? What else could it mean? First there was Night Shift (1978), then Skeleton Crew (1985), and now Stephen King is back with a third collection of stories-a vast, many-chambered cave of a volume, with passages leading every which way to hell.
Meanwhile the legend of Castle Rock returns.
Flies settle and die on an old pair of sneakers in New York, and the Nevada desert swallows a Cadillac.
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