Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan.
A loan officer who evicts an old woman from her home finds herself the recipient of a supernatural curse. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.
With a dead body lying between them, two men wake up in the secure lair of a serial killer who's been nicknamed "Jigsaw". The men must follow various rules and objectives if they wish to survive and win the deadly game set for them.
Everyone thinks of it as a harmless lightning storm. When Dave Drayton notices a strange mist on the lake, he thinks nothing of it. When he, his son, Billy Drayton, and his neighbor Brent Norton travel to the supermarket, the unthinkable happens. On their way to the market, they see the army, firefighters, and the police heading toward the mist. When he sees this Brent mentions something about "Project Arrowhead", a secret military project that no one knows about. As they are shopping, they see three soldiers walk in, pick up a few things, then head toward the mist. All eighty of the store's shoppers have no clue what is going on until an old man runs in the market with a bloody nose and declares "Something in the mist!" He tells them to close the door. About five seconds after they close the door, the entire store shakes, as though it has been lifted several feet above the ground. When David is asked to check on the generator, he finds the loading dock door being pushed on by ... Written by
In the pharmacy scene, when David Drayton is collecting a comic book for his son, Frank Darabont proposed to Thomas Jane that he should grab a copy "The Punisher: War Journal" since Jane played the Punisher three years earlier. Jane declined because he had a falling out with the producers of the The Punisher (2004) franchise and decided not to return for the sequel. He instead grabs an issue of "HellBoy" as a shout out to friend Ron Perlman. See more »
"The Castle Rock Times", the newspaper a shopper is looking at in "The Food House" town general store has no datum, issue number or price on it. See more »
The end credits begin as the song at the end of the film fades out. As the end credits roll up the screen, the sounds of military vehicles (helicopters, tanks, APCs, etc.) can be heard over the credits. See more »
Let me take a breath... Never have I had such a visceral physical reaction to a film... ever. Not even with Elem Klimov's Come and See. In the last fifteen minutes I was nearly physically paralyzed, and then started shaking, realizing how numb my body was... and I am dead serious. Frank Darabont's adaptation of Stephen King's novella goes heads above a 50s/60s monster movie homage. This is grade "A" chilling, terrifying, unsettling and utterly hopeless cinema in line with the most cynical and depressing classics from the 70s. The Mist itself and the monsters it brings are just the appetizer here. As all good horror should be, this explores the ultimate enemy, ourselves. In short one of the most beautiful, thrilling and terrible times I've had at the movies.
To elaborate, it isn't a pitch perfect film... Some of the CGI at the beginning is weak, and there are a few lines that can't escape the genre, but other than that this is a home run in every department - The performances (especially from Toby Jones and Marcia Gay Harden), the ingenious hand held camera, which is never used as a gimmick. The sound design, the lack of an underscore... This lends to the great atmosphere and tension Darabont builds. I'm sure you can guess by now this isn't schmaltzy, sentimental Darabont here; this is an angry, maniacal man that rears his head and shouts, "Everything is lost!" and then shoots you in the gut. Any fan of Stephen King, The Twilight Zone or Ray Bradbury, will greedily devour this with a great big grin on their face, then feel very sick but so damn happy and then throw up. Best film of the year yet.
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