These people aren’t zombies, as they’re not dead, but they have all the familiar cinematic characteristics of fast-moving zombies. A mysterious pulse suddenly turns every traveler using a cell phone into a raging, violent lunatic. Hell chooses Logan Airport for its coming out party.
Cusack wears the weight of his character, Clay’s divorce on his shoulders in every frame his emotional, desperate attempts to reunite with his ex-wife and son drive the narrative once all hell breaks loose. Jackson is particularly effective, going the subdued route when larger-than-life Jackson would have been, in this case, completely understandable. Jackson for their second King feature together (after the superb “1408”), and both turn in good performances. “Cell” reunites John Cusack with Samuel L. It’s cursed with some really cheap CGI, but blessed with actors who are game for, and respect, the material. With a bigger budget and a longer runtime, “Cell” could easily have been elevated above its current station as a worthy 2 AM viewing on cable-not that there’s anything wrong with that. “Cell” appears to play fast and loose with its phone-based affliction, something that might have been cleared up had “Cell” gone the mini-series route like King’s prior novels “Under the Dome” and "11-22-63." Couple this confusion with an unsatisfying, ambiguous ending, and one can see why, despite featuring A-list stars, “Cell” sat on the shelf for two years before getting a limited release. Anyone walking in blind may experience something akin to the temporary, frustrating loss of phone service when one drives through a tunnel. Those familiar with the book will be able to fill in the blanks. It's as if the movie were made by cell-phone zombies rather than actual people who've experienced social interaction.Far more problematic is the film’s occasional lack of storytelling clarity. King himself co-wrote the screenplay, and Tod Williams directs with a shaky-cam technique that's both lifeless and annoying. Interestingly, stars Cusack and Jackson previously appeared together in a superior King adaptation, 1408 (2007), but they don't build on any kind of shared chemistry here they almost seem like they're in separate movies. In trying to send a message about people spending too much time on their technological devices, the movie itself winds up feeling impersonal and awkward. Others have nominated Maximum Overdrive, Graveyard Shift, and The Mangler for that "honor," but those three movies are at least ridiculous and fun Cell reaches a new low, feeling somehow displaced from anything resembling humanity. This aggravating, confusing zombie thriller now has the dishonor of being arguably the worst movie ever made based on a Stephen King novel.
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