1408 wants the viewer to accept what is happening on-screen as is to avoid having to offer an explanation. Either it’s something that will eat away at you during the running time, or you’ll ignore it in exchange for some solid creepy thrills. A strong performance from John Cusak, taking on a one-man show for much of the film, doesn’t hurt.
The film’s set up is suitably eerie and detailed. Cusak’s character is the eternal skeptic as author Mike Enslin, determined to stay one night in a supposedly haunted room in a New York hotel. Samuel L. Jackson has a brief role as the hotel manager determined to keep him out of room at any cost. It’s nearly a half hour before anyone enters the title room, and the long character development does pay off.
Once into Room 1408, the fun begins. Slowly taunted, Enslin continues to brush off the attempts to scare him as tricks by the employees. For a skeptic however, Enslin loses his cool awfully fast, though after the extended opening, it’s better for the pacing.
Typical scares revolve around the room changing form, various sound cues, mysterious people with him, and flashbacks that concern his own life. Scenes with his dead daughter are especially effective, and sold by Cusak’s emotional pull. There are only a few “jump out of your seat” scares to be found. The fear is more from the unexpected occurrences than any loud sounds or fast cuts.
While this works in standard horror movie fashion and makes for a rare PG-13 effort that can deliver in this genre, there’s not enough explained to grasp any of it. Why this room, and why that hotel? Why does the room want to be destroyed, and give Enslin the clues on how to do it? Jackson’s character clearly explains electronics don’t work in Room 1408, yet Enslin barely has a problem with a voice recorder or laptop. Plot holes kill suspense.
This DVD release features an extended cut, with eight extra minutes and an alternate ending. Both finishes work and accomplish what they need to, though deliver the same message on what happened. Unfortunately, they both stand on top of a movie riddled with questions and no answers. While difficult, there had to be room in the script to answer the basics. Without them, 1408 is an average at best thriller with some strong performances. 
Video performance here is questionable at best. This is a soft hazy transfer, featuring limited detail that pulls you out of the movie. Flesh tones vary from one scene to next, and in some scenes, Jackson literally looks physically ill. Muted colors are a proper directorial choice, and captured here as intended. 
Audio is definitely a step up over the video. The use of surrounds in specific scenes adds to the intensity of the scares and up the freakishness. Bass doesn’t have the punch it should in some scenes, while in others is can be overwhelmingly powerful, again adding to the overall experience. 
Extras are sparse for this 2-disc release. A commentary from director Mikael Hafstrom and the co-writers is for the extended cut only. They point out the added content for those wondering what has been changed.
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