Cat’s Eye (1985) Written by Stephen King. Directed by Lewis Teague. Starring Drew Barrymore.
Stephen King’s Cat’s Eye (or as I like to call it, Stephen King’s Homeward Bound: The Incredible Journey) is an anthology film containing three very different stories, each linked by a cat who is traveling the country on a quest to find a little girl (played by Drew Barrymore) who is supernaturally calling to him to save her from some unknown danger. It is written by Stephen King and directed by Lewis Teague, who had directed the film adaptation of King’s Cujo two years earlier. As with King’s writings in general, the stories contained here are hit-and-miss. If you pay attention to the opening credits, you’ll see that Alan Silvestri composed the score. How he could produce this awful score–an example of 80s-synth at its worst–as well as the wonderful score to Back to the Future in the same year, is a mystery.
After an opening sequence in which we are introduced to our hero the Cat as he flees a rabid St. Bernard and almost gets run over by a car named Christine (I am not making this up), the Cat rides a ferry to New York City, where he has a vision of Drew Barrymore calling to him from a department store window seconds before getting cat-napped by a large man. This leads us into the first segment, in which James Woods (apparently before he became a decent actor) goes to a company called Quitters Incorporated to help him quit smoking. The company is run by Alan King, who locks Woods in his office and shows him the Cat being tortured by electric shock behind a glass window. This is what will happen to Woods’ wife (played by a sublimely beautiful actress named Mary D’Arcy, who sadly has only a handful of TV roles besides this) and daughter (played by a frumpily disguised Drew Barrymore in her second, less high-profile role in the film) if he doesn’t follow through on quitting cigarettes. King also says they might have his wife raped if he doesn’t comply. (I swear I’m not making this up.)
This whole first segment is an exercise in lunacy. This is what David Fincher’s The Game might look like if it turned out to be one long, bizarre anti-smoking ad–complete with James Rebhorn, too! Without going further into this nonsense, there is an altercation in King’s office that allows the Cat to escape. The Cat hitches a ride in the back of a pickup to Atlantic City, where he has a close call trying to cross a busy road while two men exiting a casino place bets on whether or not he’ll survive. When he makes it across, he is adopted by the man who bet on his survival and won, and who takes him home to his penthouse.
This man, named Cressner, is apparently a wealthy tycoon whose wife is having an affair with Robert Hays. Cressner’s goons (Mike Starr and Charles S. Dutton!) kindnap Hays and bring him back to Cressner’s apartment, where Cressner forces him to play a little “Contents of the Dead Man’s Pocket”-style game. If Hays can make it all the way around the ledge on the outside of Cressner’s high-rise penthouse without falling, Cressner will give him his wife and a bag full of money. The Cat is merely a bystander through most of what follows, as some pretty good suspense is generated while Hays makes his way around the outside of the high-rise. Another altercation toward the end gives the Cat its escape to continue its quest to find Drew Barrymore. This sequence is a pretty good suspense short, even if it does have a truly terrible special effects shot at the end.
In the third and final story, the Cat has made his way south to Wilmington, NC, where he finally tracks down Drew Barrymore. But just as he finds her, he notices another creature has found her as well. The creature, whom we can hear but only see as a POV-shot, runs into Barrymore’s house past her parents and up into Barrymore’s room, unseen by the family. The Cat gives chase, but cannot find the little POV monster. Barrymore begs her parents to let her keep General, as she names the Cat, but her mother has misgivings, repeating an old folk tale about cats stealing the breath from little girls as they sleep.
(Barrymore’s Mom is also shown reading Pet Sematary before going to sleep at night. I read Pet Sematary. I had to take a break for about a week halfway through that book, because it got to the point where every time I closed my eyes I would see the face of that zombie cat.)
To make a long story short, the POV monster turns out to be a troll who hides in the walls of Barrymore’s bedroom and comes out at night to cause her harm. Only Barrymore and the Cat know about it–her parents, of course, think she’s only having nightmares. There is some really good special effects work in this segment, particularly the creature effects used to create the creepy little troll. It comes to a showdown between Troll and Cat, and though it gets a bit silly, it is the most entertaining story of the three. It’s also more rewarding, since by this point the Cat’s quest has become the plot thread you really want to see fulfilled. It ends on a scene that is far more suspenseful than it has any right being.
If I were rating each of these segments separately, I’d have to rate the first segment with 1 star out of 5. It’s awful, and only gets more awful the further it goes. But the second and third segments were both interesting and entertaining, and I’d probably give them each 3 stars. And I also found myself invested in the connecting story of the Cat.
My Netflix rating: 3 stars (out of 5)