King is truly a master at getting you past the first page. But even his most diehard fans will have to admit that coming out on the other side is not nearly so universally satisfying. Arguably, nobody in the history of literature can suck you into a story so quickly that you become completely invested in it as King. What qualifies The Mist for serious argument as the greatest thing Stephen King has ever written is, in a word, its ending. Unless, of course, for some asinine reason they decided to do something as pointlessly inexplicable as changing the sublime perfection of the ambiguous ending that served to explain nothing in favor of an ending which not only clarified every last mystery, but did so in an excruciatingly calculated focus-group demonstration of pure emotional manipulation lacking any sense of coherence with anything that came before.
There was absolutely, positively no way that even a moderately talented filmmaker could possibly screw up the greatest gift King ever gave Hollywood. Topping everything off with being based on the latter 20th century’s most elusive literary rarity: a great ending to a Stephen King story. All built upon a foundation of never getting to know for sure what is really going on. Opportunities for terrifying special effects nestled up against intense dramatic confrontations between apocalyptic evangelical Christians and paranoid conspiracy theorists. The story had it all: it was a heartbreaking domestic tragedy of a family torn apart taking place within a who-will-survive disaster epic. The plot was narrowed down to the bone so that multiple characters didn’t have to be composited and intricately integrated subplots would not require complete elimination. It was perfectly constructed for adapting into a movie. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community.
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