This contains some spoilers for IT Chapter Two.
It’s not that IT Chapter Two isn’t scary, it’s that IT Chapter Two doesn’t even seem interested in being scary. It’s as though the filmmakers decided that the tone of the first movie was a little too dark, a little too tense, and decided to lighten it up… and they lightened it all the way up. There are a couple of moments that are intense – the opening hate crime, for instance – but almost every single scare in IT Chapter Two is either immediately undercut by a joke or is interrupted by a joke at its heaviest moment.
Somehow, Andy Muschietti turned IT Chapter Two into a comedy.
Continue reading “IT CHAPTER TWO: The Only Thing Scary Is The Broken Tone”
Quick note up front: this site is currently being swarmed by trolls sent from anti-SJW/GamerGate type site, so all comments are being pre-moderated. Sorry for the temporary inconvenience.
Mike Flanagan’s The Haunting of Hill House on Netflix is a masterpiece. Wildly divergent from the book on which it’s based, Flanagan’s show is a brilliant examination of trauma, especially generational trauma, and how people react differently to it. Each of the adult Crain children represent a different method of coping – or in some cases, denial – with trauma. Plus, it’s really creepy and cool and fucked up. In fact I’d go so far as to say it’s scary, a word I too rarely use when describing horror films.
So with that under his belt I give Mike Flanagan the benefit of the doubt… even when it comes to Doctor Sleep. In fact, Hill House might be the thing that makes me believe Flanagan is the actual best director for this film.
Continue reading “Sober Up For DOCTOR SLEEP”
Trailer after the jump.
I need to learn the most valuable lesson about writing TV criticism: don’t do it until the season is over. Maybe wait until the whole darn show is over. Again and again I’ve gotten really excited about a show and recommended it, only to see the show sink into a morass as soon as I’ve pledged allegiance. My timing is bad.
The latest show to fit into this pattern? Hulu’s Castle Rock, which had an extraordinary first act. I was really smitten with the show, and at the beginning it seemed to be setting up an exciting world and great characters, tying lightly into the Stephen King megaverse but mostly getting the King flavor absolutely right. So what the hell happened?
Continue reading “CASTLE ROCK Blew The Ending”
The only way Castle Rock could be more Stephen King-y would be if the lead character were a novelist. In fact, there are no novelists yet introduced on the show, a huge oversight if you ask me. Maine, as I understand from King’s work, is thick with novelists. You can’t run into an ancient curse or a terrifying entity without finding a novelist somehow tied up in the whole thing.
I don’t love writing about TV shows while they’re still airing – they could shit the bed at any moment! – but it feels important for me to tell you that Castle Rock is, three episodes in, quite good. And it’s quite good in a way that feels unique to the King ouvre; this is a show that gets what the experience of reading King is, and unlike almost ALL the adaptations ever attempted of the Master, it captures that experience. Again, Castle Rock could absolutely fall apart this week, but the first three episodes lay such a solid foundation that I could believe the show might be able to recover from a serious episode four stumble.
Continue reading “CASTLE ROCK Truly Shines”