In the Mouth of Madness (1995)

In the Mouth of Madness explores belief as a fundamental force that is capable of not only changing minds, but also bending reality itself. John Trent, as played by Sam Neill, is unconvinced, but as one Hobb's End resident assures him, "Reality is not what it used to be."

The movie explicitly posits the idea of consensus as reality. It also bears out the catastrophe of such a cosmological arrangement: if consensus is reality, one madman can sway a billion or two people and not only have immense power, but even achieve godhood. That is Cane's argument and the film seems to bear it out.

The film aggressively pursues this argument not only thematically, but visually as well. Some cues are simple but effective, such as the at first normal but then growingly grotesque painting in the hotel lobby. Other visual treats include some fun monsters that populate Hobb's End, such as the zombie children, the creature that runs the inn, and the contorted entity that Linda becomes. All are made effective through exceptional make-up and practical effects. These efforts culminate in transforming Hobb’s End from a picturesque town to an other-worldly horror.

The lore behind the movie is fascinating; Cane serves the unholy "old ones" and is facilitating their return to Earth. In order to do so, he claims he must publish his work and generate belief. The doors behind which the "old ones" reside are disgustingly effective, undulating beneath the boards that are barely holding them shut. As added visual flair, Cane's workroom has bloodstained walls, with smears here and there. The presence of the "old ones" suggests that while some gifts are God-given, Cane's may have come from the other direction. Perhaps confirming this, a wonderfully crafted but vile-looking puppet is seen attached to Cane's neck.

While an invention of Cane, Trent is still remarkably distinct in that he maintains disciplined disbelief in Cane's work for as long as humanly possible. It is only when he is faced with incontrovertible proof over and over again that he slips into madness. The movie theater scene is the perfect encapsulation of the fictionality of both John Trent's experiences and the man himself. The pained but hysterical laughter that follows is perfectly executed by Neill.

The intro and outro of the film use the same theme music, composed by Carpenter, which has personality and a real catchiness to it. It's the perfect note on which to begin and end. In the Mouth of Madness is a great piece of metafiction where only one question really matters: "Do you read Sutter Cane?"