In Whispers, the build-up and mystery is of no real relevance – the Satanism aspect is a blind, it is only a straight serial killer story with Koontz using the improbable twin angle (whose end revelation is preposterous and unbelievable in the psychology he asks us to believe) to try and fool us into believing it is an occult story. His stories only work in term of their intended impact, not when one examines them logically. Koontz is regrettably an author of contrivations. Unfortunately, the film fumbles it – and most of this appears to be Dean R. Police detective Chris Sarandon comforts harassed writer Hilary Thomas (Victoria Tennant) The very strangeness of the mystery holds one to it simply out of the desire of trying to figure out what is going on. These scenes are filled with a number of strange and threatening images – Jean Le Clerc hiding on the roof of Victoria Tennant’s elevator or going to sleep outside her bedroom with masking tape over his mouth. Whispers starts out well with an attack on a woman that seems almost supernatural in its total lack of evidence found by the police and then the killer’s apparent return from the dead. Murder (tv mini-series, 1998), Sole Survivor (tv mini-series, 2000), Black River (tv movie, 2001), Frankenstein (tv mini-series, 2004) and Odd Thomas (2013) – have with odd exceptions – Intensity (tv mini-series, 1997), Phantoms (1998) – rivaled the filmed works of King in terms of sheer banality. Koontz’s adaptations on film – Demon Seed (1977), Watchers (1988), The Face of Fear (1990), Servants of Twilight (1991), Hideaway (1995), Mr. Koontz is the only horror author whose popularity has come near rivaling that of Stephen King.
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