“You’ll Float Too…”
Following in the footsteps of The Dark Tower earlier this year, the release of It is of course yet another cinematic adaptation of a novel from horror aficionado Stephen King and similarly is a story of which I have read from top to bottom, a particular strain when considering its’ mammoth 1400 plus page count, and whilst many regard the 1990 miniseries starring Tim Curry with high esteem, there is no doubting its’ staggered weariness since its’ release, particularly in regards to the cheap effects and corny dialogue which encompassed much of television serials for that particular period in time. With Mama director Andy Muschietti steadying the ship and King’s blessings showered over its’ production, the time for a contemporary adaptation of arguably King’s most iconic novel has been highly anticipated since the first murmurings of its’ release were afoot, and with the film following the natural course of a plain sailing narrative by focusing primarily on the story of the children and leaving the elder’s tales until the sequel, It has the capacity to be up there with the best King adaptations to date. With a script which is as faithful to the source material as perhaps practically possible, Muschetti has effectively managed to craft a crowd-pleasing modern day horror classic, one which combines the fearlessness of youth with rib-tickling comedy and of course, the underlying element of utmost terror, one which is amalgamated within the form of a simply terrifying incarnation of King’s most disturbing creation thus far.
Switching the 1950’s era of the novel to the late 1980’s, a period of time consisting of cinemas showing A Nightmare on Elm Street 5 and sounds of The Cult and The Cure, It begins in the horrific, iconic fashion of the source material, using the death of Georgie Denbrough as effective characterisation for both brother Bill and Bill Skarsgård’s portrayal of Pennywise, and whilst the death of a minor is always difficult to portray upon the big screen, Muschietti’s decision to act strictly within the confines of the film’s highly deserved 15 rating is both shocking and ballsy, but too a decision which ultimately benefits the sadistic and murderous nature of the film’s titular villain, and with Skarsgård’s portrayal of Pennywise carrying the fearful threat which made the character so powerful within the novel, each and every time his character appears on-screen either in clown form or the many other disguises depicted, the fundamental uncertainty of clowns which I believe resonates in almost everyone is absolutely and undeniably terrifying. With minimalistic, subverted facial twitches, surrealist voice cues and the bonus of added digital effects, the world has finally found the definitive portrayal of Pennywise, and although Tim Curry’s performance will always be admired by many of a certain ilk, Skarsgård’s interpretation is the character I totally envisioned when reading the novel and from a person who tends not to fall under the spell of jump scares, Skarsgård’s Pennywise managed to both fill me with terror and make me check my pants after a collection of effectively maneuvered horror set pieces.
In regards to both members and enemies of the Losers Club, casting director Rich Delia is arguably the real hero of the movie, accumulating an ensemble cast of primarily youth-inflicted, un-established talent which transcribes on-screen as pretty much perfect in terms of each respective character’s transition from paper to screen, and whilst the depth of characterisation prevalent in the novel was always impossible to fit into a two hour movie, Muschietti manages to direct each individual with enough vigour and charm to establish themselves as wholly believable and empathetic. Whether it be the sadistic parenting of both Beverly Marsh and lead bully Henry Bowers or the overbearing figure of Eddie Kaspbrak’s anxious mother, the development of the characters has the desired effect whenever they are placed in a position of peril, and even though from reading the novel I was aware of where each of the character’s narrative threads was heading, the channeling of the brilliantly constructed cast makes the horror elements much more effective. In a sentence, you’ll scare because you care. Whilst the threat of Pennywise does lesser slightly come the concluding battle between forces both good and evil in the surroundings of Derry’s less than attractive sewering system and the CGI construction of particular monsters not being as effective as the titular leading character, Muschietti’s movie is a masterclass of how to transition a story from page to screen, and whilst It is only part one of the story to come, the culmination of a superbly intertwined genre-swapping narrative, a perfectly moulded cast and an unparallelled faithfulness to the novel, Muschietti’s film is not only a marvel of modern horror cinema, but it redefines how Hollywood should be treating its’ horror-loving audience. See you in 27 years.
Overall Score: 9/10
“I’m My Own Bitch Now…”
If ever there was someone in Hollywood who is the epitome of kick-ass action, Charlize Theron undoubtedly takes that prestigious award all the way home, with recent releases such as Mad Max: Fury Road and The Fate of the Furious in particular showcasing that it’s not just the male fraternity of actors that should get all the explosive fun when sometimes their female counterparts can do it so much better. With Atomic Blonde therefore, the latest release from John Wick director (albeit strangely uncredited) David Leitch, a filmmaker renowned primarily for stunt work on a wide range of cinematic releases including the likes of V for Vendetta and The Bourne Ultimatum, it comes at no surprise that many could simply regard Theron’s latest as somewhat of a John Wick-infused cash-in, yet with a cast which features the likes of Eddie Marsan, James McAvoy, Toby Jones and John Goodman, Atomic Blonde on paper has the groundwork to be it’s own beautiful beast. Unfortunately, this is most definitely not the case, with Leitch’s latest suffering way too heavily from fundamental script issues and mind-bashing plot twists to be classed as a film in which I could safely say I enjoyed from beginning to end, and whilst there are certain elements which are delicious in their execution, for the most part, Atomic Blonde is a vicious let down.
Whilst the late 1980’s, fall of the Berlin era is effectively flashy enough, the underpinning of a narrative which hinges on flashbacks is fundamentally at the heart of the problem of the film, one which uses a script which comes across stinking of a seeping air of sanctimony in it’s belief regarding how clever and slick it is, and too a picture which revels in the exploitative use of undeserved levels of profanity and violence which comes across much too jarring and distracting throughout pretty much the entirety of the film. With the back and forth nature of the story much too convoluted for anyone to really care what is actually going on, the film isn’t helped either by Atomic Blonde having arguably the worst plot twists since the stupidity of Now You See Me 2, and whilst Theron makes the most of what she has handed, style alone in the form of costume design and makeup doesn’t form a memorable character, resulting in a heavy heart when realising I forgot the lead character’s name as soon as I exited the foyer, something of which doesn’t normally happen when the film has truly engaged me. Jarring more than enjoyable, Atomic Blonde is mediocrity incarnated and too not the first film to use stairways as the backdrop to a decent fight scene. DAREDEVIL DAMMIT.