Haunting, breathtakingly unique puzzle box from Stephen King and Pablo Larrain that has all the hallmarks of both at their best. Great performances from across the board - and whilst King stories tend to fizzle out with a whimper rather than a bang, the signs are strong for this on that it won't suffer the same fate. Dane DeHaan is appropriately sinister, and the high-budget production makes it look better than most movies.

Don’t really understand the poor ratings. Beautiful unique story, nicely filmed, great acting by everyone.

I wasn't sure how I felt about this show, thought I'd save my judgement until I finished the first season but episode 4 put me to sleep so fast it's here. Very nice cast. Beautiful to look at and yet, it's painful to watch. It's not atmospheric, just incredibly slow and boring. Music guy tried so hard to sound creepy and dramatic, he overdid it. Not even Julianne can save it.

How is it possible for this story to be even slower than The Servant … but it is. Incredibly disjointed and confusing with a super slow pace, we’re having a lot of trouble staying awake.

I really want to give this show the benefit of the doubt, but it's simply not connecting how I think King or Larrain hoped it would. From speaking to fans of the book, I understand that the main takeaway from the novel is how believable and "real" the love between Lisey and Scott is portrayed. Much like Kings other literary works, he strips away the rose tinted, Hollywood-inspried lense of what we think love is and shows it for the flawed, bumpy, difficult mess that it is, with pet names, past trauma and tumultuous arguements to boot. For as good as they both are independently, Moore and Owen just don't seem to be able to convey the chemistry that so many were enamoured with throughout the book on the screen. Whether this is a fault of the director, the script or lack of compatibility between the actors themselves is up for debate; but it's the linchpin that's missing from this adaptation and I feel is bringing the whole enterprise down. Much akin to another mishandled screen translation of Kings, Pet Semetary does the same with the loss of a family member. In the novel, King masterfully pulls back the curtain on the "model" death patient we usually see in media, showing the grim, dark realities of losing someone we love and care about. The screen adaptation refuses to address this with the same level of care, and we're given a stock jump scare with some gorey imagery. So that is to say that this isn't a new trend when it comes to on-screen presentations of Kings ideas, but it doesn't deter from the disappointment it brings. Ultimately, Lisey's Story is mightily impressive with it's visuals and soundtrack. The cinematography in every scene still pulls an "oosh" from me with every location and camera angle change. It's just a shame that the largest, and arguably most important portion of the whole production is outright bad, with a confusing narrative structure to boot.