The Lottery

This modern day adaptation of the short story by Shirley Daniels is a gripping horror tale that successfully grabs the attention of our modern day teenagers while also making the point Ms. Daniels intended. This story warns us that sometimes traditions can be negative, and we must always stand up for what is truly right. I would love to get a copy of this movie for my own collection.

This spooky, intelligent television horror movie moves at a good steady pace, building towards its nightmarish climax, with a perfectly achieved sinister small town atmosphere. A clearer explanation of why the townsfolk do what they do would help, but the acting and writing keep you interested throughout. It's a classy excursion into horror from the writer that gave us "The Haunting".

This is a good movie. throughout the whole movie you know something really weird is going to happen. There's just this feeling. Unbelievable ending. If you get a chance, watch it.

I had never read Shirley Jackson's short story "The Lottery" or seen any filmed versions of it before I saw this one. Although it is a well-made and well-acted TV-movie of a fine, suspenseful story, I was a bit disappointed. To the film's credit, it doesn't overdo the characterization of the small-town residents as unspeakably weird oddballs, but the story holds on to its secret for so long that the film doesn't even begin to get ominous until it's over halfway through. The ending provides a pretty good payoff if you stick with it, though.

This current day (90ish) version of "The Lottery" doesn't do the original (1948) short story by Shirley Jackson justice. However it is an interesting modernized version of the short story, with a modern day twist. For anyone who hasn't read "The Lottery" it's a great short story. It starts off as a pleasant story which could have taken place in any century. Once she has you hooked, the story takes an unexpected turn. If you like Edgar Allan Poe, you'll really enjoy Shirley Jackson's original story "The Lottery". Originally published in the June 28, 1948 issue of the New Yorker.