Stephen King’s “Silver Bullet” is, according to the late film critic Roger Ebert, either the worst movie ever adapted from one of his stories—or the funniest.
A Flawed Adaptation That Still Earned Four Stars
Ebert’s 1985 review for Dan Attias’ film treated the horror adaptation as a parody, highlighting how it unintentionally amplified the humor within King’s knack for small-town horror. This might seem strange considering King’s original novella, “Cycle of the Werewolf,” begins with a series of brutal murders and the subsequent trauma experienced by young Marty Coslaw. How does an adaptation veer so far as to transform such a somber narrative into a source of laughter?
The film’s troubled production provides some insight. Don Coscarelli departed directorial duties after the producer disregarded King’s detailed notes during development.
Did you know? The film’s production was fraught with creative differences, ultimately impacting the final product.
Beyond the behind-the-scenes conflicts, “Silver Bullet” presents a baffling take on King’s werewolf horror, leaning heavily into monster movie clichés while sacrificing narrative coherence. Yet, Ebert awarded it three out of four stars, charmed by its comedic effect:
“I know that a case can be made for how bad ‘Silver Bullet’ is. I agree. It’s bad. But it’s not routinely bad. It is bad in its own awesomely tasteless and bubble-brained way–so bad, I think every laugh was put in lovingly, by hand […] If you are sick up to here of horror movies in general and Stephen King in particular, this is the movie for you. If you have impeccable taste and high artistic standards, why have you read this far in the first place?”
Is Ebert’s assessment accurate? Is “Silver Bullet” truly as funny as he suggests?
Cheesy Tone and Costuming Add to the Film’s Appeal
Spoilers for “Silver Bullet” ahead.
The key to enjoying “Silver Bullet” lies in abandoning any serious expectations. The film’s tonal inconsistencies create a dreamlike quality, particularly during the murders, such as a child being attacked while flying a kite at night. This absurdity is heightened by the introduction of Red (Gary Busey), a perpetually inebriated character whose improvised dialogue is a major source of unintentional humor. Red, the overbearing uncle of Marty (Corey Haim), spends much of the film berating his nephew and uttering lines like “Holy jumped-up baldheaded Jesus palomino!” The dialogue consistently oscillates between mild corniness and Red’s unpredictable outbursts.
The werewolf effects, intended to be a central element, are ultimately disappointing. While the initial ambiguity of the threat is effective, with the werewolf lurking in shadows and delivering shocking violence, this tension dissipates upon the creature’s full reveal. The werewolf costume is undeniably silly, especially during a scene where it attacks a man with a baseball bat. The novella builds suspense more effectively through subtle visual cues and suggestions.
“Silver Bullet” can be genuinely hilarious if viewed with a forgiving eye. The film is currently available for streaming.
