Todd's morbid preoccupation with Dussander's grotesque past is something that could explain away the Marilyn Mansons of today, if enough attention were paid. Why some people inflicted such pain during World War II (and others did nothing about it) is a question posed in the opening scene and virtually ignored the rest of the way.
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This is a movie that focuses on the effects of evil, not causes. Yet, the film doesn't incite terror as much as eerie fascination, much like Todd's, although it isn't our choice as it is his.
Singer spices up the proceedings with haunting hallucinations and a couple of cringing suggestions of animal cruelty. Screenwriter Brandon Boyce closely follows King's lead, which means periods of elementary dread punctuated by jolting spasms of violence.
Singer doesn't have the kind of circuitous plot to manage that made The Usual Suspects such a career breakthrough for him in 1996. The novella comes from the same Different Seasons short story collection that also spawned the films Stand By Me and The Shawshank Redemption, so this story reeks of throwaway material. Declaring it to be the best adaptation of a King horror story since Misery doesn't say much, when you consider how much bloody junk has carried the author's brand name since then. Of course, the mutual exchange gets out of hand, along with whatever service Singer and King will project into this nasty premise.Īpt Pupil never fails to make a viewer's skin crawl, but doing it at the expense of 6-million victims seems a gratuitous shock to the system. If the former Nazi shares his gruesome recollections, Todd won't hand him over to the authorities. Rather than go to the police, Todd goes to the old man's doorstep.
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