Stephen King’s foray into the anthology format, Cat’s Eye, directed by Lewis Teague, presents a trio of tales linked by a wandering feline in search of a young girl in need. Reminiscent of classic suspense shows like Alfred Hitchcock Presents, the film delivers a blend of dark humor and suspense, particularly in its initial segments. Teague, with his Roger Corman and Alfred Hitchcock Hour background, proves to be a fitting choice for this genre-bending movie.
The first story, “Quitters, Inc.,” stars James Woods as a smoker desperate to quit. He seeks help from a company with extreme methods: fail to quit, and your loved ones suffer. The company’s methods are chillingly demonstrated with the electrocution of a room – with a cat inside, establishing the film’s dark tone early on. Woods’ internal struggle between his addiction and the safety of his wife provides blackly comedic tension, highlighting an ironic side effect: quitting smoking might lead to weight gain.
The second tale, “The Ledge,” escalates the stakes with a casino boss and his wife’s lover, Robert Hays. A precarious bet is placed: walk the narrow ledge of a towering building, and win the wife; fail, and face a drug dealing frame-up. As Hays navigates the dizzying heights, the casino boss’s attempts to sabotage him add layers of suspense. However, the narrative cleverly shifts, granting Hays an opportunity to seize control of his perilous situation.
The final segment shifts focus to Drew Barrymore as a young, troubled girl whose silent plea reaches the titular cat’s eye. Plagued nightly by a monstrous troll attempting to steal her breath, she finds an unlikely protector in the arrival of the determined feline. This story takes on a fairytale-like quality, as the cat confronts the creature in a battle for the girl’s safety.
Throughout Cat’s Eye, Teague subtly nods to other Stephen King cinematic universes. Viewers can spot fleeting references to Cujo and Christine, Hitchcockian cameos that enrich the King universe tapestry. Even The Dead Zone makes a background appearance on a television screen, further grounding the anthology within King’s wider world.
While the first two stories effectively utilize twisted humor and suspense, the final troll narrative feels tonally divergent and somewhat protracted. Its Grimm’s fairytale essence seems geared towards a younger audience, contrasting with the mature themes of the preceding tales.
In conclusion, Cat’s Eye offers a mixed bag of Stephen King thrills. The initial stories deliver suspenseful, darkly comedic scenarios in the vein of classic anthology television. However, the final story, while imaginative, lacks the same punch. Despite this unevenness, Cat’s Eye remains a worthwhile watch for Stephen King aficionados and those who appreciate anthology horror with a touch of dark humor, all connected through the mysterious gaze of a wandering cat’s eye.
