The New York scenes, with Walter’s minions scuttling about wearing human masks over rat-like faces, have the creepy paranoia of a pulp film from the 1970s or ’80s; more than once, I thought of John Carpenter’s under-sung “They Live.” “The Dark Tower” also serves as a central clearing house for Stephen King mythology, with references to “The Shining,” obviously, but also cameo appearances by Cujo the dog, Christine the car, the monsters from “The Mist,” and other creatures under the cultural bed.