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Doctor Sleep (2019)

Mike Flanagan has taken the mantle from Frank Darabont and become the best film adapter of Stephen King’s stories. Doctor Sleep is a sequel to The Shining but it’s a sequel to Kubrick’s movie version, which King notoriously hated for its alterations. We follow an adult Danny Torrance (Ewan McGregor) as he struggles with addiction in the wake of his family’s tragedy linked to the Overlook Hotel. He starts a new life for himself as a hospice worker, aiding the elderly into a peaceful demise (where he earns the titular nickname), and he takes it upon himself to mentor a young girl, Abra (Kyliegh Curran), who has the same “shining” powers that he has. Trouble is others are looking for these same gifted few, namely Rose the Hat (Rebecca Ferguson) and her gang of traveling undead mutant vampire people feeding off the “steam” or life force of the super-powered they kill. They’re after Abra and her abilities so Danny must rescue her and eventually head back to the source of all his nightmares. This is a relatively solid sequel that has enough intrigue and suspense to cover over the dull parts. It takes too long to get going and then finishes things up too quickly, especially with a climax at the reawakened Overlook that is beginning to hit a groove with nasty ghostly suspense. It felt like I was watching Stephen King’s X-Men with his assortment of super powered people banding together and tracking each other down. The gypsy-like caravan of villains are pretty disposable and lacking strong personality or menace. Ferguson (Mission: Impossible – Fallout) is fun to watch even if she doesn’t feel that threatening. The rules and limitations feel vaguely defined and refined. The nods to the original Shining are selective and bring their own degree of power, as does seeing different actors portray these famous characters in flashback. Flanagan has reverence for both King’s source material and the beloved 1980 film, and bridging the two is a source of enjoyment. The characterization overall is pretty slack and there aren’t much in the way of genuine scares. It’s creepy, it’s occasionally atmospheric, and it’s also really long and drawn out, clocking in at 151 minutes, which is even longer than Kubrick’s movie. It’s an epilogue that gets by on the emotional investment and resolution it provides for Danny while setting up a larger universe of super “shining” psychics. If you don’t care about one, there’s at least some degree of the other to prove entertaining albeit also being underdeveloped. Doctor Sleep (a wasted title) is a workable balance between two masters of horror.

Nate’s Grade: B

It Chapter Two (2019)

To be fair, It Chapter Two was always going to be the less interesting half. There’s a reason when they thought they would only get one movie that the producers and writers decided to focus entirely on the childhood storylines, and that’s because it’s the superior material. Director Andy Muschietti and most of the same team from the 2017 film return with a bigger budget, a bigger running time, and some new famous faces (not counting the cameos). At a whopping 169 minutes long, It Chapter Two rumbles into theaters as a big scary surefire hit, enough so that no other Hollywood studio scheduled a competitor during its release weekend. As anyone who saw the 1990 TV miniseries can attest, the adult half of Stephen King’s story is the harder slog, and Chapter Two makes it even sloggier (I’m making this a new word starting now).

The Losers Club from Derry, Maine have all grown up as 27 years have passed from that fateful day that they battled the evil Pennywise (Bill Skarsgard) and lived. Mike (Isaiah Mustafa) has stayed behind, cataloguing the events of the small town, waiting for the return of their nemesis. He alerts his old friends to once again return so they can take care of Pennywise as he feasts once again on the children and adults of Derry. Bill (James McAvoy) has become a famous and frustrated horror author. Beverly (Jessica Chastain) has married an abusive man. Richie (Bill Hader) has become a famous standup comic. Ben (Jay Ryan) has slimmed down and become a wealthy architect. Eddie (James Ransone) is with another overbearing woman and fraught with anxiety as an insurance risk assessor. Stanley (Andy Bean) is conflicted about returning as he views himself the weakest of the group. The old gang revisit the town of their youth and take turns remembering what they had selectively forgotten through the years. Only they can band together to stop Pennywise but they must all work together to survive yet again.

Every time It Chapter Two was cutting back to its numerous childhood flashbacks (more on that in a moment) I was reminded how magical this younger cast was together, how much more I cared, and I was secretly wishing the movie would just stay in the past for good. In short, the adult versions of these characters are pretty boring. They each only have like one note of added characterization for the ensuing 27 years after we’ve seen them, meaning I guess according to the movie that whomever you are in middle school is who you’ll be as a grown-up? That’s a scarier thought than anything Pennywise has to offer. It’s as if our understanding of them was put on hold for those 27 years as well, so there’s too little to unpack, or what’s there seems peculiar and unsatisfying. Richie’s big personal secret that Pennywise taunts him with seems decidedly less scandalous in our modern age. Bill has to suffer people telling him the ending to his book was unsatisfying. He also has survivor’s guilt over responsibility for the death of his little brother, Georgie. Beverly is with an abusive husband who she leaves in the opening scene. So that seems to be the end of that development. Ben is still nursing his crush from middle school on Beverly; the man hasn’t moved on from a middle school crush! He’s gotten rich, gotten in shape, and still waiting for this one girl to like him, which is a weird message. Maybe the movie is positing that all of the characters have been emotionally “on hold” since the childhood trauma they cannot remember, put in a stasis as much as Mike who elected to stay behind when the others wanted to get away. That feels like excuse-making to me. These versions of the characters just aren’t that compelling and given little to do and too much free time.

Structurally, this movie is a protracted muddle and could have sliced out a healthy 45 minutes. The first act checks in with each character for us to see where they are in life and then concludes with their reunion at a Chinese restaurant. The uncomfortably long second act follows each character wandering around the haunts of Derry and essentially having their memories activated. It follows a formula that gets to be rather redundant. The adult goes to a place, they have a scary flashback about that place as a child, then they have a scary moment as an adult. It means each character has two linked scary moments/set pieces to go through, and there are at least five characters to get through, which means this whole sequence takes up like an hour. Also trying your patience is the fact that there is no new information. You’re watching the characters try and remember things that you, the audience, already know, so it gets to be rather boring. Then there’s the extended ending that is undeserved for a two-part franchise. The ending gets drawn out so long, with so many little minor stops, that my father said, “It’s like everyone came up with a different ending scene, they voted and they all tied, so we got them all.” A Lord of the Rings-style sendoff was not needed for these characters. The misshapen and drawn out structure is a result of adapting a book where the narrative drive was from the childhood experiences using the adults more as a conduit to explore trauma and as a means to finally deliver a last confrontation. It’s hard to assemble a full movie out of that material but this doesn’t feel like it (pun intended?).

It Chapter Two is also noticeably less scary than the original movie. Part of this is because we have a baseline of expectations from the childhood spooks, but it’s also because the horror doesn’t seem to have the same level of care and craft attached. Because of that formulaic middle, there’s less an anticipation for Pennywise’s big scares and more a resignation. It’s a skipping record of scares, waiting for the non-scary thing/person to become the scary Pennywise. With the 2017 It, the scares were able to develop in fun ways, playing upon their childhood fears, and were developed with careful craft to heighten the tension. Pennywise was genuinely terrifying. Now in the sequel, because the scares aren’t delivering the same impact, the movie veers too often into comedy, which only further de-fangs the power of its demonic clown. The 2017 It naturally understood that its horror would take steps into the goofy but that made it scarier. With the 2019 sequel, the human characters are calling out the horror tropes, which doesn’t work. This is even more noticeable and unhelpful when the big scary scenes all involve some CGI monster. There’s very little actual Pennywise in this movie and too many dull CGI monsters rambling about. Then there’s a terrible over-invested secondary villain with a childhood bully breaking out of a mental hospital and being instructed to kill the adult Losers. Every time the movie kept cutting to him, I sighed. He doesn’t deserve the amount of screen time and importance he seems to have been given. I don’t care about this guy and the movie shouldn’t waste time trying to make me care.

The returning assets are welcomed, providing a sense of continuity that helps carry over our good feelings and good times from the 2017 hit. Muschietti (Mama) is a talented director and an excellent mood setter, but he’s also excellent at directing child actors. There’s one standout scene in It Chapter Two that would rank with the quality of the previous film. There’s one scene that follows a little girl with a splotchy birth mark on her cheek as she follows a firefly under the bleachers at a high school baseball game. Waiting below in the shadows is Pennywise, who plays upon her insecurity of her facial deformity, and his own, to promise her a better life. It’s the one moment in the movie I actually felt something close to fear. Muschietti draws out the development organically and plays upon the mounting dread, holding onto a moment of Pennywise frozen, like the creature below the facade is trying to remember what to do next. It’s a stellar little moment, beautifully directed and written, and it’s almost completely superfluous to the main story. The child actors are all still outstanding, even if some of them get a slathering of de-aging CGI to make them look more like their pre-puberty selves (sorry Finn Wolfhard). Then there’s the breakout sensation Skarsgard (Assassination Nation) as our favorite dancing clown. He’s under served by the story problems and the hazy rules leading to his eventual confrontation. I enjoyed every actual appearance from the character and Skarsgard’s eerie command over his physicality, the way he can simply move through a scene or fixate his face, is astounding. The degree of his brilliance in this role will get downplayed because of of its genre but he is doing remarkable acting here.

The adult actors all deliver capable and even great performances with what little they have. It doesn’t take a great actor to act scared, as judged by the litany of low-budget horror available, but it does take a great actor to try and funnel that into the narrow band of a character. Chastain (Dark Phoenix) is enjoyable, because she always will be, but her character is meant to sleepwalk through the movie, putting together the memories of old and becoming more aware. It makes for a restrained performance, which works for an adult woman raised with abusive men, but it can also mean that Chastain is given less material as an actor to work with. McAvoy (Glass) breaks into a childhood stutter when he’s really freaked out but even his character seems to vacillate between under-performing and over-performing, especially when he’s obsessed over saving one little neighborhood kid who probably views him as the real danger. His character was the unquestioned center of the 2017 It, but that center seems more with Richie with the 2019 It. Hader has taken a surprising and very affecting turn into darker dramatic work with HBO’s Barry, and his performance is the best of the adult Losers. He has his expected funny moments but it’s the sadness and anxiety that coats his words that Hader is able to bring out. His is the character that seems to open up the most through the second installment and Hader was a terrific choice to facilitate this.

It Chapter Two falters in comparison of the first film where the qualities all felt so wonderfully organic, arranged, and developed. It was a grade-A funhouse of goofy terrors. The sequel is far far too long, misshapen structurally, overextended, underdeveloped, lacking in sustainable tension, overusing CGI and comedy, and strands the talented actors with little to do. I heartily enjoyed the first chapter and that’s why I’m feeling as let down as I am for Chapter Two. It’s certainly not a bad movie. It still has enough slick technical skill and good acting to warrant a viewing if you’re a fan of King’s novel or the 2017 movie. Just be prepared for a longer, duller, and less satisfying concluding half that seems to be running on half the imagination. It might work well enough but it only makes me appreciate the charms of Chapter One even more.

Nate’s Grade: C+

Pet Sematary (2019)

I already know my computer’s spell check is going to hate this review. In the wake of the box-office bonanza of It, prolific author Stephen King is a hot property once again for studios and everything old is new again. Pet Sematary (yes it’s intentionally misspelled) is a remake of a 1989 that was a hit back in the day. It was never regarded as a good movie but had its campy entertainment, so there was some room for improvement. Early reviews were positive and I raised my hopes for the 2019 edition, but after having seen the finished product, maybe some movies too are better off left dead.

Louis (Jason Clarke) and Rachel (Amy Seimetz) have moved to small-town Maine for a little peace and quiet and to spend more time with their children, nine-year-old Ellie (Jete Laurence) and their toddler, Gage. They happen to live next to a busy road with dangerous drivers speeding at all hours. An accident claims the life of their beloved family cat, but the kindly old neighbor Jud (John Lithgow) has a piece of advice. Beyond the “pet sematary” in the woods is a place where the buried dead come back to life. The cat comes back, though is mean and different. Later, another accident takes the life of Ellie, and Louis cannot let her go. He buries her in the hallowed grounds, she comes back, but she’s not daddy’s little girl any longer, and people will pay a high price.

Eschewing a sense of camp, the film risks being overrun by its own sense of seriousness, which only works if there is room given to explore the ramifications of grief, the choices people make when they’re hurting, and the irony of good intentions. If you’re going to go in a serious direction then you need the confidence and dedication to play to that decision, and that’s not the case with the 2019 Pet Sematary. It’s lacking those important moments of contemplation or even dwelling with the horror of bringing back a loved one from the dead. There’s only so much evil hissing cat you can have before you hit a limit and start saying, “What else you got?” There’s going to be an escalation, I don’t think it’s much of a spoiler, considering the nature of the premise but also its predecessor being 30 years old, that one of the children will die only to be brought back. It’s also an easy speculation that they will “come back wrong” but the drama is processing this decision and trying to mitigate the mounting consequences. How far will a parent go to protect their child even if that child is an undead murderer? The trials should strain the moral resolve or our protagonist while reveling in the grotesque.

Because every viewer is going to already expect this much, it’s the film’s job to develop this premise in a satisfying manner and/or provide surprises from our expectations. Pet Sematary 2019 unfortunately does neither, barreling through the dramatic downtime when it could be developing its horror and unleashing standard slasher jump scares. When Louis is brushing his daughter’s tangled hair he runs his fingers over the metal staples in the back of her skull holding her head together. It’s a stark reminder that she is not the same, and it goes beyond her scraggly voice and unyielding stares meant to convey the same information. The film needed more moments like this, small details to unnerve and remind, rather than making her essentially The Ring girl from the start. The movie voluntarily eliminates its own storytelling runway, giving it little room to ramp things up and being forced to simply jump to the big bad killer demon girl. The filmmakers try and compensate somewhat by giving Rachel her own independent haunting, seeing hallucinations of her dead, twisted deformed sister. Those sequences reminded me of the slow stirring sequences in 2017’s It, drawing in the audience to dread what will happen next. It’s a side plot that could be eliminated entirely and I enjoyed these sequences the most because it was at least something pregnant with possibility.

Many of the new additions feel like the filmmakers are fumbling for something else to be scary because they’ve consciously or unconsciously admitted defeat with their zombie. She’s creepy, sure, but she starts at full creepy and stays there. We get things like animal masks reminiscent of 2013’s home invasion thriller You’re Next. We get the spooky visions of ghosts that the child can see. We get Rachel’s taunting visions that never feel fully integrated into the larger whole with any thematic value. It could have tapped into her guilt praying for the demise of her sister for a well-earned sense of relief, and this same feeling coming ahead anew with her reanimated child, challenging her to reconcile her past actions and personal culpability and goad her into action. But like most aspects of the supernatural be-careful-what-you-wish-for parable, it’s given precious little deliberation and instead it’s more standard thriller moments to goose scares. I do appreciate that the film takes its sense of bleakness to the very bitter end, departing from the 1989 original for an even darker conclusion. The only problem is that it left me wanting the sequel. By the end, I think many viewers will agree that they wish a Pet Sematary movie, at least one under this oh-so-serious-slasher direction, had started at this end point instead and gone forward, exploring the full ramifications of the larger world.

As is wont for the Internet, there has been some gnashing of teeth over the fact that the remake kills a different child, but I think this is the smart move. It allows the remake to stand apart from the original and chart a path of its own, not that it’s very far. It also boosts the practicality of what it can do for horror. As any parent may attest, there’s more to worry about what a nine-year-old can do than a two-year-old. Even reanimated and filled with supernatural power, it’s still a small child that can be overwhelmed. An evil pre-schooler has a bit more limited mobility for their murder rampages.

For fans of King, or fans of genre horror, there may be enough standard thrills and chills to enjoy the new Pet Sematary. In the extremely spotty spectrum of King movie adaptations, it’s definitely somewhere in the middle, not bad per se but nothing special.

Nate’s Grade: C+

It (2017)

Stephen King movies have had a spotty track record at best. For every Shawshank Redemption or The Shining, there’s an overwhelming multitude of disappointments and dreck, including this summer’s long gestating and prophetically disappointing Dark Tower adaptation. The two-part It mini-series came out in 1990 and is best known for Tim Curry’s unnerving performance. Otherwise, it wasn’t that great itself but, grading upon a steep King curve, it comes out as perfectly tolerable. Hollywood has been trying to get a new It movie in development for years, and I mostly just shrugged at the idea. Did we really need another version? After seeing the 135-minute finished film, I can say that the answer to that is a definitive and enthusiastic yes. It is a fiendishly fun horror movie with rapturously composed visuals, an affecting emotional core, and impressive craftsmanship. It’s easily already in the top echelon of King adaptations.

Back in 1989, children have been mysteriously disappearing from the small town of Derry, Maine. Bill (Jaeden Lieberher) is still recovering from his younger brother who went missing one fateful rainy day. Bill holds onto the hope that somehow his brother is still alive, washed away through Derry’s series of sewers. He and his group of friends, affectionately nick-named The Losers, are being hunted and haunted by a strange clown who calls himself Pennywise (Bill Skarsgard). This evil clown feasts on the children’s fears and has been frightening Derry every 27 years, snatching children to consume, including Bill’s lost little brother. The Losers band together to stop this clown menace.

Director Andy Muschietti (Mama) brilliantly brings to life a dynamic funhouse of scares, suspense, and big screen delights that will leave you howling for more. Much like James Wan’s Conjuring films, Muschietti doesn’t present anything radically new into the world of horror, but he takes older, sustained horror techniques and executes them to near perfection. The greatness of horror is when you simmer in that delicious sense of tension nervously awaiting what’s to come next. For this effect to have any punch, a filmmaker needs to lay a deliberate foundation to then twist and manipulate. Muschietti is amazing at heightening the atmosphere of dread and drawing it out. There are scares in It that are textbook in their masterful orchestration. Take for instance a scene with Ben (Jeremy Ray Taylor) in the basement of a library. He looks over his shoulder to see an ashen child’s body standing on the stairs. Given the lowered camera angle, the top of the ceiling cuts off the ashen kid’s head. Then as he stumbles down the stairs it’s revealed… he has no head. It’s a startling reveal and it carries on from there. Pennywise coming through a haunted slideshow of Derry was another creepy highlight. The red balloon of Pennywise transforms into an alarming totem for the audience, a signal to begin your nervous anticipation. The movie keeps finding new ways to creep you out until the very end. It’s movies like It that can remind you what tremendous fun horror movies can achieve.

Let’s get straight to the clown, the star of so many nightmares. Curry is the reason why anyone remembers the 1990 TV mini-series. Fortunately, Skarsgard (Atomic Blonde) goes in his own direction for his own personal interpretation of the character. There are similar tics, in particular the lisp, but Skarsgard makes it his own and he is wonderful. His command over his body is incredible and it magnifies the creepiness of every appearance. He holds his cheeks together in a rictus grin that looks downright painful, and he’ll lock into expressions and just let dribbles of saliva drip off his chin. Even while playing this big, broad, malicious character with a penchant for theatricality, Skarsgard can find little touches to create an even more unsettling impression. I’ve never been impressed by Skarsgard’s performances before, mostly amounting to my unchecked hatred of his awful Netflix TV series, Hemlock Grove. He impressed the hell out of me in It. This is a Pennywise that has such loose, alarming contortion over his body. When he pulls his face back revealing row after row of sharp teeth, it’s almost a relief from the more horrifying human version of Skarsgard’s outsized antics. Tim Curry owned his character’s sense of campiness. In contrast, Skarsgard feels deliberately more unhinged and also a creature in complete revelry of being so deranged. If you have a fear of clowns, I would advise that you simply never watch this movie in your entire life.

While I was expecting the big top entertainment from Pennywise, I was surprised at how involving and relatable the teenage drama can be. The screenwriters have done an admirable job at taking time to establish the characters and their relationships to one another. The town of Derry is a world of criminally neglectful adults. Everyone in this town seems to be an asshole; even the librarian chides Ben for the indecency of looking at books in a library during the summer (do your job, lady!). It’s a world where grownups disappoint and where adulthood is just a miserly existence of abuses. Beverly’s father lecherously takes ownership over his daughter’s body. Eddie’s (Jack Dylan Grazer) hypochondriac mother tries to lock her son away from the larger world, not out of protection but out of her own selfish comfort. These are the kind of people that look the other way while the local town bullies are literally carving initials into a child’s flesh. With all of this awfulness, the coming together of the Losers and their unified friendship provides a lifeline of support. They’re relatable, realistic, and heart-warming in their affection for one another. They talk and act like authentic kids, which also means they make dumb decisions out of curiosity. The movie stops to share little coming-of-age moments that ring true, like Beverly’s (Sophia Lillis) awkwardness at shopping for her first tampons or the boys trying to act cool in front of a girl. As he did with Mama, Muschietti is super-humanly adept at directing child actors. Seriously, he might have to direct all child performances from here on. The young actors do fine work at building out their characters, though some are expectedly underwritten. Special notice should go to Lieberher (Midnight Special) as the stuttering Bill still trying to grasp his brother’s death.

Given the childish nature of the fears and the theatricality of its villain, the movie is inevitably going to skid into goofy territory, but instead of rejecting this It swerves into the skid and becomes even better. When you deal with a killer shape-shifting clown who hides in the sewers and lives upon the fear of children, things can get silly and pretending otherwise is a waste of time and energy. Muschietti and company acknowledge the otherworldly with proud panache, making the goofiness part of the fun and ultimately part of the terror. Skarsgard is tremendous at turning on a dime, having his lisping, big grinned clown go from broad and ridiculous to terrifying, and he can do it with just a look. It happens even in his earliest big screen appearance. This is a Pennywise who feels like an alien’s idea of a party clown; the original elements are there but connect wrong or are amped up. There are a couple instances where Pennywise dances, and I absolutely adored each. His malevolent gesticulations felt like an exaggerated cartoon given unholy life, which seemed more than fitting. You may laugh at points and then gasp the next, and I’m fully convinced that’s the intended response. The childhood fears are much improved from the classic Universal monsters from the original novel (I’m sorry, nobody is afraid of mothballed versions of Dracula or Frankenstein in this day and age). Seeing them manifested as misaligned phantoms is far worse, even if the effect might not be as jarring without the accompanying music and sound design.

The only structural problem I would cite is that It has a little too much fun with its scary set pieces and starts to feel redundant in the middle. It becomes a figurative funhouse (before the literal haunted house) of set pieces with each one of the Losers being tormented by our clownish friend multiple times. There are seven of them after all. We could have probably done with one or two fewer of these encounters. You’re having so much fun waiting with anticipation for each encounter that I can’t complain too hard. It’s difficult to push yourself away from the funhouse and get back on track to a narrative conclusion meant to cleave a 1000-page book into a workable satisfying endpoint. I thought the bully character featured considerably throughout the story was going to become an increasingly significant antagonist into Act Three. That didn’t quite happen. The ending scene bonding the children together also seems to exist in such an earnest tone, and yet the amount of blood onscreen for their bloody hand-holding ritual is comically excessive, which caused me to giggle. I choose to believe it was Muschietti undercutting the feel-good triumphant moments with some darkly macabre touches, to remind the viewer that while our characters have survived they are still forever distorted.

Let’s also discuss the most controversial aspect of the original novel that so many people seem to have conveniently forgotten and for good reason. Spoilers follow, though they do not pertain to this adaptation, because nobody in their right mind would ever include this. At the end of the childhood section, as the kids defeat Pennywise, they’re all coming down from facing the living embodiment of their fears. So what do you do next? Well if your answer is “have a child orgy,” then you’re correct, and also likely sick in the head. The kids all start having group sex, in the dank sewers mind you, with Beverly, the only girl, being the recipient of much of it. It’s an out-of-nowhere plot development that serves no justifiable artistic purpose and feels so wrong-headed that it’s hard to believe. But it’s real, folks. King won’t admit what seems the most obvious culprit (he was on a lot of drugs in the 1980s), and instead has offered some strange rationale saying the act was a connection between childhood and adulthood and… I don’t know. This narrative choice also grossly mistreats Beverly. It seems like an obvious and baffling misstep to have a pre-teen girl suffer viciously demeaning sexual rumors, the very real sexual abuse from her father, and then decide her ultimate gift to the group of boys that accepted her is to let them all have their way with her (excuse me while I vomit). Stephen King, just admit you were on drugs and this was a weird, lamentable mistake. It’s that easy, man.

The newest incarnation of It is a glorious chiller with top-notch acting, directing, cinematography, production design, sound design, and just about all the elements that suffered from the lackluster 1990 TV mini-series. The 2017 movie is top-notch nightmarish mayhem treated as a marquee thrill ride. You strap yourself in and wait for the carefully calibrated scares and suspense and payoffs. However, the human element is not lost amidst the ride, and the children and their bond forms an emotional anchor. Muschietti demonstrates a consistent mastery of classic horror techniques. He allows scenes to build, to surprise, to startle in uncomfortable ways. Having such a talent at the helm, I was pinned to my seat and lapping up every moment of wonderful unease. The It mini-series was split into two stores, one focusing on the characters as children and another as middle-aged adults (the childhood stuff was, without question, superior material). The movie ends with the title “Chapter One” and the promise that, if the box office gods deliver, there will be a second chapter transporting us to the present. I was indifferent before but not longer. Muschietti has made me a believer. Give me more of It.

Nate’s Grade: A-

The Dark Tower (2017)

I have never read any of Stephen King’s popular fantasy series, The Dark Tower, so I walked into the long-awaited film adaptation with no investment. I walked out with very little investment. The film peaked at its casting, with Idris Elba as the mythic Gunslinger hunting down a notorious evil sorcerer, The Man in Black (Matthew McConaughey), a.k.a. Randall Flagg. For the first fifteen minutes or so, the world building is pretty straightforward and accessible. The Man in Black is looking across universes for special psychic children whose abilities he can focus to destroy the titular Dark Tower, a monument protecting the stability of all universes. A young kid is having prophetic dreams but appears emotionally disturbed to his family. Before a group of rat people hiding behind human masks can kidnap him, he runs away, finding a portal to Midworld, and into the path of the Gunslinger, who seeks personal vengeance against the Man in Black. From there the movie gets pretty hazy with its rules and lore. The production design of this alien world is a bit bare. The characters stay in an archetypal range and don’t give you much reason to care. The action is serviceable but unmemorable, the Gunslinger credo is rather cheesy especially when repeated with such self-seriousness, and sometimes it feels like McConaughey is in a different movie altogether. If you’re a fan of the series, I have to imagine you’ll be processing some level of disappointment by the end of the film. If you’re a franchise novice, like me, you may find some stray things to enjoy in the moment, but the film evaporates from your mind immediately after leaving the theater, banished to the dustbin of bland sci-fi action.

Nate’s Grade: C

Dreamcatcher (2003)

Stephen King movie adaptations are usually a mixed bag. For every Carrie there’’s a Sleep Walkers or a Sometimes They Come Back. Let’’s not even discuss how many straight-to-video Children of the Corn releases there are (the answer, of course, is far too many). So what can we expect from a novel that featured butt weasels?

Dreamcatcher centers on four friends and their annual hunting trip in the woods recounting an earlier time when they befriended a mentally retarded child who would later give each of them psychic gifts. At the same time it appears an alien invasion is nearby, the military are to quarantine the area, and the lost hunter has expelled a bloody serpentine-like creature from his bowels. What does it add up to? The craziest spring break ever man!

There are several moments in Dreamcatcher where you think to yourself, “Well, it can’t possibly get more stupid” and yet the movie routinely will find a way. It doesn’’t know when to stop. Just when you think the bottom of the Stupid Hole has been hit, here comes an alien possession where the alien uses a freaking British accent (and actually says the word “guvna’,” proving to be the most dangerous interstellar chimney sweep). The only reason I knew what was going on was because I read the book over the summer.

The story is a mixture of different King staples: schmaltzy coming-of-age buddy stuff (It), alien invasions (Tommyknockers), gory monsters (take your pick). Dreamcatcher feels like a Stephen King greatest hits tape. The different narrative elements have great trouble gelling, as you can only segue from mentally challenged boy with mystical powers to crazy Morgan Freeman shootin’’ up slimy aliens so often. The story does not work and has too many leftover bits it doesn’’t know what to do with. Dreamcatcher is a proverbial square peg being jammed into a round hole.

The movie shows some promise in its opening, displaying the camaraderie of actors Thomas Jane, Jason Lee, Damien Lewis and Timothy Olyphant (a younger looking Bill Paxton if I ever saw one). The notion of the “memory warehouse” is a fun idea that is used for nice comic touches.

Director/co-writer Lawrence Kasdan has written some of the most exciting films of the past 25 years, and screenwriter William Goldman is an old hand at adapting King (having done the masterful Misery and the mawkish Hearts in Atlantis). So what in the world went so horrendously wrong? For starters, the book is a whopping 620 pages and would be more suited in the frame of mini-series. Condensed into a messy two-hour movie, Dreamcatcher is sloppy with its pacing and scope. The movie drags for an eternity and then makes a mad dash at a finish (I won’t spoil its unbelievable awfulness but will say it veers SHARPLY from the novel).

The most interesting part of the novel, for me, was the second half that involved the alien (Mr. Gray) taking over the body of Jonesey (Lewis). What kept me reading was Mr. Gray finding a liking to human temptations like bacon and, later, murder. Seeing Mr. Gray become intoxicated with humanity and perplexed by it at the same time was wonderfully interesting. Sadly, all you get in the movie is the British accent and some goofy faces as Lewis holds two conversations in one person.

Few movies come along that are as incredibly stupid as Dreamcatcher. I can’t exactly recommend it for this quality. They are playing that Matrix cartoon after it (my theater showed it before the film started). It looks like a video game and features a woman doing flips and sword fighting in a thong, because, quite simply, that’s what women do in these things. It’’s not really good either.

Nate’s Grade: D

The Green Mile (1999)

A prison in the heart of the deep South during the era of the Great Depression is not usually the locale you’d find a somber tale of earnest discovery and passionate awareness to the follies of life. Yet here arrives the long anticipated The Green Mile, the second in tag-team efforts from director Frank Darabont and novelist Stephen King in their own genre creation of nostalgic feel-good prison flicks. All the swelling hype could manage to make the movie seem overbearing, but if you’ve got a free afternoon and a butt made of steel then try The Green Mile.

Darabont seems like the perfect visual interpreter to King’s epic narrative spinning of good, evil, and all that fall between. The movie moves at the pace of molasses and clocks in at over three hours in length. Not exactly audience friendly fodder but one and all will be grateful for the decisions taken to build character development and tension instead of blindly rushing through.

Tom Hanks plays a prison guard on the Death Row block of a Southern penitentiary. Despite the bleak and grim surroundings his humanity still shines through. He escorts and oversees the final moments of many men’s remaining breaths along the final walk of green linoleum tile to the electric chair. Enter one mysterious morn John Coffey (Michael Clark Duncan), a towering giant that seems to break all the rules each of the guards on cell block E has come to realize through their years. Coffey has been convicted of the rape and murder of two little girls, but as Hanks soon learns things aren’t always what they seem. The 7-foot miracle worker displays scenes of empathetic healing like to Christ himself. Hanks views are turned and his eyes open, and that’s just the beginning of the heartstrings being pulled. To release anymore of the plot would be a crime punishable by Ole’ Sparky himself in the Green Mile.

The pacing is smooth and wrings out every droplet of mystery and drama needed. The Green Mile‘s comprehensive fable quality transcends the period just like The Shawshank Redemption did as well prior. ‘Mile’ should be expected to be a front-runner for Oscars when balloting begins.

The ensemble acting is magnificently eclectic and truly inspiring. Hanks’ name is so synonymous with Oscar that he might as well shave his head and paint his body gold because come nomination time this man’s name is going straight to the ballot. Other stars give thoughtfully deep and refreshing performances guaranteed to turn a few heads. Duncan’s gentle child-like giant is serene and a benevolently touching figure of innocence and warmth. But one can not forget the presence of a very special rodent by the name of Mr. jingles that deserves billing above the credits itself for the quality performance it puts on.

The Green Mile is a sad, touching ,and rather powerful movie that speaks to the viewer’s emotions and gladly earns every one of them. In the end The Green Mile is nothing beyond a long yarn of a fairy tale; but one told so exceptionally, one performed so extraordinarily, and one directed so deftly that you’ll gladly journey down that mile with ease.

Nate’s Grade: B

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