I've identified Frank Darabont's variable list that are included in most of his movies:
- Create characters which the audience can identify with
- Make the audience love the good characters (the good guys I mean)
- Make the audience really hate the bad characters
- Be ruthlessly cruel with these characters (both the good as well as the bad characters)
- Helplessness
- Despair
- Fear
- Deep seething rage
- Joyful contempt
- Fear
- Joy
- Total helplessness
- Heart-wrenching sadness
- Shock
- Sorrow
There is a back-story to the whole thing, mostly dealing with monsters in the mist but the movie is so smart and so character driven that you hardly pay any attention to it. Basically the story revolves around a group of people who become trapped together when an unnatural mist surrounds the grocery store they're in. Soon they realize that there are lurking dangers in the mist and anyone trying to escape dies a horrible death. However the dangers inside the grocery store far surmounts the dangers outside and we get to see how fear and crazy-talk can make people do unspeakable things to each other (think: Jews being killed in concentration camps, suicide bombers, holy wars, witch-hunts etc). This movie highlights the dangers of Faith and why a society should never base their values on what's written in archaic books or the ramblings of power-thirsty, attention-seeking dictators: rules+irrationality=disasters.
Frank Darabont created the best on-screen villains ever: Mrs Carmody. I am a very peace-loving person who opposes any kind of violence, but seriously, if I was one of the people in that grocery store I would have enjoyed torturing her ass off. I hated her so much, she was so evil and I just loved hating her every time she opened her mouth.
This movie is a must see (though if you're a religious republican you're gonna hate it, trust me), and even though the ending is 100% not cool, I guess Frank used it to draw any remnants of unsurfaced emotions from the viewer, and with that, he receives a big A+ for meeting his goal.
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