The Dark Half (1993)


Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.

The Dark Half (1993)

1 Star2 Stars3 Stars4 Stars5 Stars (1 votes, average: 5.00 out of 5)
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Information


Released Year: 1993
Runtime: 122 minutes
Directors: George A. Romero

Storyline


Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.

Trailer


Reviews


90
The New York Times - Vincent Canby
The Dark Half is an exceptionally entertaining film of its kind. Only Stanley Kubrick has ever adapted a King novel (The Shining) in such a way that the ending remains as satisfyingly spooky as the beginning.
75
San Francisco Chronicle - Mick LaSalle
The Dark Half is another retelling of the Jekyll and Hyde story, but King and Romero fail to work out the premise of the story. [23 Apr 1993, p.C3]
70
Variety - Unnamed
The writer's desk intriguingly becomes a gladitorial arena for warring manifestations of the same personality in The Dark Half, George A. Romero's adaptation of Stephen King's 1989 bestseller, a classic Jekyll-and-Hyde story.
60
TV Guide Magazine - Unnamed
It's an uncommonly mature and intelligent chiller, particularly in a period when the genre has devolved into wisecracking fiends and empty special effects showcases.
50
Chicago Sun-Times - Roger Ebert
Now this is a terrific premise for a thriller, and director George Romero (The Night of the Living Dead) sets it up with skill and style. Unfortunately, the film's biggest disappointment is that it doesn't develop its preternatural opening theme.

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Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.

Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.

Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.

Thad Beaumont is the author of a highly successful series of violent pulp thrillers written under the pseudonym of ‘George Stark’, but when he decides to ‘kill-off’ his alter-ego in a mock ceremony, it precipitates a string of sadistic murders matching those in his pulp novels, which are soon discovered to be the work of Stark himself. Looking like a maniacal version of his counterpart, Stark is not so willing to quit the writing game – even if it means coming after Thad's wife and their baby.