Movie Review: KING ON SCREEN

By ABBIE BERNSTEIN / Staff Writer

Posted: August 11th, 2023 / 01:43 AM

KING ON SCREEN movie poster | ©2023 Darkstar Pictures

Rating: Not Rated
Stars: Frank Darabont, Mick Garris, Taylor Hackford, Mike Flanagan, Scott Hicks, Tom Holland, Tom McLaughlin, Mikael Hafström, Mikael Salomon, Jeff Beesley, Vincenzo Natali, Josh Boone, Lewis Teague, Craig Baxley, Daniel Attias, David Carson, Fraser C. Heston, Fritz Kiersch, Greg Nicotero, John Harrison, Kevin Kölsch, Dennis Widmyer, Tod Williams, Zak Hilditch, Mark Lester, JP Scott, James Douglas
Editors: Daphné Baiwir, Alex McKenzie, Sebastien Cruz
Director: Daphné Baiwir
Distributor: Darkstar Pictures
Release Date: August 11, 2023 (theatrical), September 8, 2023 (VOD/Blu-ray)

The “King” referenced in the title of KING ON SCREEN is prolific bestselling author Stephen King. The “screen” here is tilted toward the big cinematic one, but there are plenty of nods to miniseries, telefilm, and series adaptations of King’s work as well.

Director Daphné Baiwir, who edited KING ON SCREEN with Alex McKenzie and Sebastien Cruz, has done a remarkable job of blending interviews with twenty-seven directors who have helmed King material with the films and TV programs, plus a trove of behind-the-scenes footage.

We get everything from why THE SHINING as a book was so personal to King to why director/screenwriter Frank Darabont used a clip of Fred Astaire and Ginger Rogers in THE GREEN MILE.

Baiwir has a wonderful sense of flow. Even as she moves back and forth between different directors and adaptations, there’s never a sense of interruption. Although the filmmakers are responding to questions, it feels like a continuing conversation.

Even if viewers are familiar with particular anecdotes, seeing them juxtaposed with specific clips reminds us of how and why certain moments have become classic. Baiwir has also amassed a flabbergasting amount of clips to demonstrate what’s being discussed. (She could probably make a separate and highly dramatic documentary about the licensing for KING ON SCREEN.)

While there are no interviews with King himself for KING ON SCREEN, there is enough archival footage of him talking – and interacting on a number of sets – that we don’t really miss it, except for on a few questions.

There is plenty of examination of the fact that King doesn’t always write horror – we get an in-depth look at THE SHAWSHANK REDEMPTION and a fair view of STAND BY ME. These go side by side with exploration of how and why King’s scary stories are so indelibly terrifying. This all makes sense. However, a couple of interviewees sincerely insist that say certain pieces aren’t really horror. They mean this as a compliment, which indicates horror is somehow something less legitimate than other forms; it would be interesting to hear King’s take on these opinions.

Additionally, King is commended for his writing of women and his inclusion of people of color in his narratives. It’s hard to avoid noticing that every single director interviewed here is male, and all but one is white. There have been women and people of color who have directed King: for instance, the original 1989 PET SEMATARY and its sequel were directed by Mary Lambert; Ernest Dickerson directed on UNDER THE DOME, adapted from King’s novel. It may be that neither was available for KING ON SCREEN, but again, it would have been good to hear from them (and from King) on these topics.

Otherwise, KING ON SCREEN is immersive and highly entertaining. A bonus is a dramatized wraparound sequence that has a basketful of Easter eggs in dialogue, décor, cast, and even camera set-ups. People who love King or just love knowing how movies and TV are made will have a great time.

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