Like John Irving or Alan Moore, Steven King is one of those writers who can’t seem to catch a break when it comes to the translation of his ideas to a visual medium. For every Misery, there’s a Thinner. One could argue that the best Stephen King adaptation contained the least amount of his vision. Stanley Kubrick’s version of The Shining stands a a beacon of psychological horror.

Maybe there’s less to be said about the filmmaker’s role in these adaptations as there is to say about King’s choice in subject matter. 1408 – originally a short story about a haunted hotel room – is another great piece of psychological horror that stands just below The Shining in it’s effectiveness.

In 1408 (on 2-disc DVD on October 2), John Cusack stars at Mike Enslin, a jaded author who abandons his wife after the death of their daughter writing travel novels about haunted hotels. He has become jaded in his travels and is thoroughly convinced that there is no such thing as an afterlife.

After another unsuccessful trip, he receives a mysterious postcard from The Dolphin Hotel in New York with the foreboding warning “Don’t enter 1408.” Intrigued, Mike begins to do research about the room’s grisly past.

It isn’t long before Mike is in New York squaring off against Samuel L. Jackson as the hotel manager Gerald Olin doing everything in his power to prevent Mike from staying in room 1408. He offers to upgrade him to the penthouse, bribes him with an $800 bottle of cognac and even gives him complete access to the hotels files on all the guests who’ve perished in the room so he will write his story and leave.

Jackson delivers an expertly grim performance as Olin. But only do the production diaries (an extra on the DVD) reveal the genius of his casting.

As written, Olin was a short, chubby white man of European descent. It was Quentin Tarantino who first suggested Jackson when he was given first pass at the script. An interview with Cusack summarizes things quite well. “If a English bellhop tells you ‘Don’t go in the room.’ you’re gonna go in the room. But if Sam Jackson says ‘Don’t go in the room.’ you DON’T want to go in the room. He’s a good crypt keeper. If it’s enough to scare Sam, it’s gonna scare you. So he gives it a kind of existential street cred.”

For all intents and purposes, the movie is being held up almost entirely by Cusack’s talent. Trapped in 1408, he is given nothing to interact with except the environment. As the room starts taking the shames of his past and using them as weapons against him, there is only Cusack there to convince you of the harrowing plunge into his own mind.

The first half of the film is effectively terrifying as director Mikael Håfström squeezes every last drop of tension from the commonplace surroundings of 1408 to keep you on edge. In what the film refers to as “the banality of evil,” you feel more fear waiting for something to leap out from the shadows than you do when things finally come off the rails and the haunted room starts to throw everything it has at our hero. To put it another way, after watching this movie you’ll never feel the same about “We’ve Only Just Begun” by The Carpenters ever again.

I have a great deal of respect for this film. Not just for the performances or it’s director, but for the expert production design and effects work. Again, the production diaries reveal a great deal of 1408’s secrets and exactly what went into making such a confined space work in a horror setting.

Additional extras on the DVD are standard fare. Deleted scenes, webisodes, trailers and commentary from the writers and director. The film comes with both the theatrical cut and the extended directors cut with an alternate ending. I won’t spoil it for you, but the alternate ending isn’t much different from the original. It just adds an extra joy-buzzer jolt. So including it to add value to the purchase is somewhat superfluous. Cleverly, the packaging comes with fake postcards from The Dolphin inviting guests to stay in the room of the dammed.

Ultimately, 1408 probably will not stand shoulder-to-shoulder with a film like The Shining, but Stephen King should be proud of the adaptation nonetheless. It is great entertainment that represents him well.