Editorials
‘Riding the Bullet’ – The Cheesy Thrills of an Underappreciated Stephen King Adaptation [The Silver Lining]
In this edition of The Silver Lining, we’ll be discussing Mick Garris’ lesser-known Stephen King adaptation, Riding the Bullet.
As of 2022, I think it’s safe to say that Stephen King is still the undisputed monarch of horror adaptations. However, while everyone has heard of Carrie and Misery, most of his massive cinematic catalog is comprised of obscure stories that weren’t quite popular enough to warrant the blockbuster treatment. From Thinner to Sometimes They Come Back, these limited release/made-for-TV thrillers aren’t necessarily bad, they just can’t compete with the budget and star power of something like The Shawshank Redemption.
That’s where King’s partnership with filmmaker Mick Garris comes in. An accomplished director and screenwriter in his own right, having worked on films like Hocus Pocus and the more recent Nightmare Cinema (not to mention being the creator of Masters of Horror), Garris was originally approached to work with King on the mid-budget monster flick Sleepwalkers back in 1992. This collaboration led to a series of highly successful made-for-TV productions in the following years.
Having tackled projects like The Stand, Quicksilver Highway and the 1997 incarnation of The Shining, Garris would eventually work on his second big screen Stephen King adaptation with 2004’s Riding the Bullet. Based on the online novella of the same name, the film follows a death-obsessed art student as he hitchhikes his way back to his sick mother during Halloween of 1969, encountering dangerous specters along the way.
A ghost-infused road movie, the flick actually had a lot going for it back when it was first announced. From the groovy period setting to the original story’s somber exploration of the fear of death, not to mention an impressive cast featuring highly accomplished actors like Barbara Hershey and David-freakin’-Arquette, it seemed like this offbeat Stephen King adaptation was destined to become a box office gold mine.
SO WHAT WENT WRONG?
Suffering from a highly limited theatrical release and mostly negative reviews, Riding the Bullet is proof that not even the King of horror can guarantee a box office hit. Currently sitting at 26% on Rotten Tomatoes, the film was commonly criticized for its overabundance of familiar Stephen King tropes, as well as its confusing tone and low production values. At the end of the day, the general consensus was that the experience felt like an after-school special from hell.
Of course, there are inherent difficulties in adapting Stephen King’s patented style of prose to the big screen. His characters’ internal monologues usually make up a considerable amount of his novels’ word counts, with their abstract musings making it tough to faithfully translate these stories to a visual medium. While Garris dealt with this in previous projects, with varying degrees of success, Riding the Bullet’s constant fake-outs and Alan Parker’s literal conversations with himself were understandably off-putting to a lot of viewers.
This also applies to the film’s bizarre sense of humor, with the director often using subjective cutaways to play with different filmmaking styles. It may be a creative decision, but these silly moments end up undermining the story’s underlying existential dread. While I personally don’t have a problem with Alan’s morbid daydreams (I always get a good laugh out of the scene where the Grim Reaper smokes a joint in the bathroom), it’s easy to understand why others might not feel the same way.
Lastly, there’s the issue of the film not being particularly scary, which is something of a deal breaker for a lot of horror fans. Sure, there are some gnarly makeup effects by Greg Nicotero and more than a few genuinely creepy ideas here and there, but most of the film’s scares are followed up by cheesy visual humor and/or intense character drama. This means that the truly horrific moments don’t really pack the punch that audiences have come to associate with mainstream Stephen King adaptations.
In hindsight, it seems that Riding the Bullet simply wasn’t the movie that people were expecting it to be, so both critics and audiences rejected it upon release.
THE SILVER LINING
Much like coffee and vegemite, these smaller Stephen King adaptations can be something of an acquired taste. I grew up watching made-for-TV horror like The Langoliers and Rose Red, so I believe there’s a certain nostalgic charm to these overly ambitious productions despite their undeniable flaws. And when it comes to underappreciated King adaptations, I’d argue that Riding the Bullet stands out as one of the best.
For starters, it’s clear that the filmmakers were hardcore King fans, with the film featuring several nods to the writer’s horrific multiverse. Nurse Annie Wilkes even has a cameo towards the end of the flick (played by the director’s wife, Cynthia Garris), and the undead George Staub’s Ford Mustang was changed to a Plymouth Fury as an homage to Christine. There are also appearances by Stephen King adaptation veterans like Matt Frewer, who previously played Trashcan Man in Garris’ The Stand and Dr. Charles George in Quicksilver Highway.
The main cast is also pretty solid, especially Jonathan Jackson and Barbara Hershey as our paranoid lead and his loving mother. However, David Arquette really steals the show as the undead George Staub, chewing through scenery in an unhinged performance that leaves you wanting more. Not only is his character unnerving, but he’s also morbidly funny in an oddly corny sort of way, contributing to the film’s humorous ambitions.
It might bother some viewers, but I think the film’s cheesy sense of humor is strangely effective. The playful yet spooky tone makes the experience feel like an adult-oriented episode of Goosebumps, and I admire the filmmakers for wanting to try something different. In fact, I’d even argue that the story’s overly-serious musings on mortality, parenthood and suicide are only bearable because of this irreverent presentation, with the jokes being more of a feature than a bug.
The late 60s setting also contributes to the entertainment factor. While the film doesn’t quite have the resources to commit to a period-accurate aesthetic, memorable characters like the fake “Weekend Hippie” and Erika Christensen’s new-age girlfriend persona really ground viewers in this distant time and place. The retro soundtrack does its part as well, featuring kick-ass hits from artists like The Zombies and The Youngbloods.
Riding the Bullet is no undiscovered masterpiece, but it doesn’t really have to be. Honestly, my favorite thing about the movie is its earnestness. The performances may not be Oscar-worthy and the script gets a bit too literal in its visual translation of King’s storytelling techniques, but the experience still captures the writer’s trademark introspective style without feeling farcical or cynical. It’s also one of the few horror movies I can comfortably watch with my mom, and I think that means something.
Your mileage may vary depending on your tolerance of Stephen King tropes, but I think this haunted road movie is worth revisiting if you’re in the mood for a charming B picture. Like most King stories, the journey matters more than the destination here, so I recommend that viewers simply buckle up and take in the sights and sounds of this groovy trip down memory lane.
Watching a bad movie doesn’t necessarily have to be a bad experience. Even the worst films can boast a good idea or two, and that’s why we’re trying to look on the bright side with The Silver Lining, where we shine a light on the best parts of traditionally maligned horror flicks.
The problem with filming sequels back-to-back is that, unless you can afford expensive reshoots, there’s no easy way to adjust course in between movies if fans react badly to where the story is headed. That’s why it’s important to have a complete narrative thought out well in advance lest you accidentally kill a budding franchise.
However, this isn’t always the case. Every once in a while, it seems like the cinema gods smile upon certain chaotic productions and gift moviegoers with complete franchises that feel like more than the sum of their hastily produced parts. Ted Nicolaou’s Bloodlust: Subspecies III is precisely one of these miraculous pictures, with the raw talents of the artists involved (as well as the continued support from Romania) turning the feature into an effective conclusion for a series that kind of made things up as the filmmakers went along.
That’s why I’d like to invite my fellow readers to join me on this third part of our journey through the Subspecies franchise as we look into Bloodlust and talk about how it remains a surprisingly satisfying finale to the original trilogy.
A Trilogy Planned on the Fly
Released only a year after Bloodstone found plenty of success in rental stores and mail-in VHS catalogues worldwide, 1994’s Bloodlust was produced at the same time as its predecessor in (mostly) the same locations and with the same team. This means that the movie benefited from all the same upgrades as Bloodstone, with the crew now being more experienced with the ins and outs of surviving a low-budget Romanian production and the cast really settling into their characters.
At this point, everything from location scouting to the makeup process had been streamlined, with Wayne Toth and Norman Cabrera, the main duo behind special effects, even switching out time-consuming prosthetics for latex gloves in order to speed up Anders Hove’s monstrous transformation. The titular “subspecies” demons were also once again relegated to a mere cameo appearance due to the laborious puppetry required to bring them to life.
The only real hiccup came from the fact that actress Denice Duff had replaced the first film’s Michelle (Laura Mae Tate) and was immediately expected to portray the character as both an innocent victim in part II and as a secondary villain in part III. According to behind-the-scenes interviews, the hectic production schedule that blended two different movies meant that Duff would often find herself having to alternate between two incredibly different versions of Michelle during the same shooting day – though it’s obvious that she’s having more fun with Bloodlust’s more traditionally vampiric version of her character.
In the finished film, we pick things up immediately where the previous entry left off as Rebecca (Melanie Shatner) is forced to leave her vampire sister Michelle (Duff) behind in the dungeons of Castle Vladislav due to the rising sun. This allows Mummy (Pamela Gordon) to use Michelle’s blood to revive the vicious Radu (Hove) so that he may continue his quest for the coveted Bloodstone – a magical artifact that perpetually drips the Blood of Saints.
Meanwhile, the dreamy US embassy agent Mel (Kevin Blair) agrees to help Rebecca plan a rescue mission, though they’re unaware that Radu has become infatuated with Michelle during his attempts to guide her growing bloodlust. This all culminates in a climactic confrontation meant to tie up all of the series’ loose ends in one of Full Moon Pictures’ most ambitious productions.
The Evolution of Radu
Like its predecessor, Bloodlust: Subspecies III was also warmly received by fans who argued that the series was an even bigger success than Full Moon’s other major horror franchise, Puppet Master. This praise wasn’t unanimous, however, as 1994 had seen the rise of a more modern breed of sexy vampire popularized by Anne Rice, with old-school Nosferatu like Radu being viewed as obsolete when compared to the likes of Lestat and Gary Oldman’s take on Dracula.
In a way, one might argue that Nicolaou’s film is something of a swan song for the classic vampire story, as Bloodlust combines all of the traditional elements we tend to associate with these tales into a single tragic yarn that ties a neat little bow on Radu’s story as well as the old-fashioned monster movies that he represents. The finale remains shocking despite the fact that this is the third time we see Radu get brutally killed onscreen, with the brief tease that he may one day return feeling more like a nod towards the nature of evil rather than sequel bait.
The film dabbles a bit in gothic romance and even explores the inherent power fantasy behind transforming into an immortal creature of the night, but the filmmakers never lose sight of Radu as a demonic force even when he’s willing to betray his beloved Mummy for Michelle’s sake. In fact, his twisted “love” for his fledgling makes him even creepier as we get the feeling that his passion comes from a dark and disturbing place.
Anders Hove is at his absolute best in this film, with the effects department boosting his moments of what the younger generation would call “aura farming” whenever Radu emerges from shadows like a 90s version of Count Orlok. There are even a couple of surprisingly effective jump-scares here, which is why I’d argue that Bloodlust cements Radu as one of the most memorable cinematic vampires of all time despite his humble origins.
Subspecies Saves Its Best For Last
Nicolaou and Vlad Panescu also saved the best for “last” (more on that in a bit) regarding the film’s visuals, with the cinematography and overall atmosphere of Bloodlust absolutely surpassing what we saw in the previous films. Everything feels appropriately climactic this time around (including the wonderful soundtrack that was co-composed alongside an authentic Romanian orchestra), and I appreciate how this is the fastest-paced entry in the trilogy since the film doesn’t need to waste time setting anything up.
Bloodlust still suffers from some of the same low-budget blemishes as its predecessors, but there’s so much creative passion here that no amount of wonky effects work or stilted dialogue can get in the way of appreciating the flick’s gothic grandeur. That’s why it’s not surprising that the movie’s definitive(-ish) ending would later be retconned as fans begged for more Radu.
Of course, the next entry in this series would be a different kind of vampiric endeavor altogether, with the filmmakers attempting to engage with the same trends that ultimately killed Radu and his antiquated kin. That, however, is a story for another time. For now, I’ll merely insist that Bloodlust: Subspecies III remains a highlight of Full Moon’s expansive catalogue and is definitely worth seeking out today.
You must be logged in to post a comment.