1408

Dolphin Sandwich.

1408 is based on one of horror writer Stephen King's short stories. It stars John Cusack as a supernatural investigator who rents room 1408 at The Hotel Dolphin in New York. It is said to be a most haunted room and the scene of many deaths. He soon finds his scepticism tested to the max.

Although it has deep themes of grief et al, this essentially boils down to one man in a room being plagued by psychological and physical attacks, with the intended chills and shocks surreal in presentation. It's all very twisty and big on conundrums, which makes a second viewing something of a necessity, whilst Cusack's performance is also reason to check in for another viewing. However, it's not the scary movie some have lauded it as, in fact it's more fun-house palaver than anything terrifying, but there's no doubting the intelligence and skill of the writing. The mind is a curious, wonderful and troubling thing, and 1408 wants us to know it. 6/10

Great watch, would watch again, and can recommend.

While the setup is a little bleh, it serves a point, but I could literal start the movie at Samuel L. Jackson's office and be fine.

Once in 1408, the intensity creeps perfectly. It really gives you the atmosphere of a cat playing with its food.

It'll mess your head a little, but that's just from a great John Cusack delivery and wonderful cinematic display.

And the ending is almost perfect: the are two minors points that could be bad, but they're unclear.

As the manager said, "It's and evil room.

(Watched the Theatrical version)

1408 is a solid psychological horror that pulls you into its dark and twisted world. John Cusack does an amazing job as Mike Enslin, a skeptic writer dealing with supernatural horrors while battling his own guilt over losing his daughter. His performance really makes the movie—he sells the fear, grief, and madness perfectly.

That said, the endings are what really stood out for me. The theatrical version felt too neat and safe. Sure, it wraps things up nicely, but for a movie this dark, it needed something heavier. The director’s cut hit harder—it’s bleak and sticks with you. The haunting moment with his daughter fit the tone of the movie so much better. It kept the unsettling vibe that should linger after a film like this.

The production was great too. The way the room constantly changes and traps you with Mike was done so well, keeping you on edge the whole time. Overall, I enjoyed it, but the director’s cut is the real winner for me. It keeps the dark, disturbing feel that a movie like this needs.