After a deadly plague kills most of the world's population, the remaining survivors split into two groups - one led by a benevolent elder and the other by a maleficent being - to face each other in a final battle between good and evil.
The small town of Haven becomes a hot-bed of inventions all run by a strange green power device. The whole town is digging something up in the woods, and only an alcoholic poet can discover... See full summary »
During the midst of a brutal blizzard, residents of an off-shore village are menaced by a powerful force of darkness in the form of a sinister stranger who begins to exploit the town members darkest secrets in till they give him "what he wants"
A character's last names is Hopewell. Stephen King used that name for another character in "The Langoliers", from his novella "Four Past Midnight". See more »
When Mike is talking to Peter when he brings Linoge into the store after his arrest, Robbie can be seen in the background facing a different direction between shots. He's facing left, then right, then left again. See more »
What really happened in Roanoke in 1587? And what happened here on Little Tall Island in 1989? We may never know. But I know one thing, Davey, you're too damn short to play basketball.
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"Give me what I want and I'll go away," demands the black-eyed, stocking-capped stranger Linoge (Colm Feore), who appears in a quiet island community on the verge of the worst storm in decades and brutally bludgeons an old lady to death. Tim Daly, the town sheriff and voice of reason and moral strength, locks up the quiet madman, but the deaths pile up as Linoge acts them out from his cell like a murderous mime pulling psychic strings. Stephen King, whose original teleplay is his best work for the screen since The Stand, transforms the sleepy burg into a Peyton Place of guilty secrets and criminal activity ripped from under a blanket of small town normality while the white-out of the snowstorm completely cuts them off from civilization. Director Craig R. Baxley nicely maintains an icy tension while the waiting game goes on, perhaps a little too long, before Linoge finally reveals "what he wants" and the drama turns into a struggle for man's soul in miniature. The more ambitious special effects and set pieces sometimes disappoint but are more than made up for in King's knack for turning the mundane into the macabre (the children's song "I'm a Little Teapot" has never sounded more sinister) and a few brilliantly realized sequences, the best of which occurs when townspeople are literally yanked out of existence while watching the storm. Storm of the Century is one of the most successful translations of King's brand of horror to the screen.
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