Directed
by Andy Muschietti, Starring: Bill
Skarsgård, Jaeden Lieberher, Sophia Lillis, Jeremy Ray Taylor, Finn Wolfhard.
Horror, US, 2017, 135mins, Cert 15.
New Kids On The (chopping)
Block.
Back in 1990,
Tommy Lee Wallace (HALLOWEEN III: SEASON OF THE WITCH), directed and co-wrote a
3 hour TV mini series adaptation of Stephen King’s gargantuan 1986 novel ‘It’.
Over the course of its 900+ pages (in hardback form), ‘It’ chronicles the tale
of a malevolent shape shifting alien entity lurking in the sewer drains of Derry,
King’s fictional go-to small-town. Rising from its subterranean hellhole every
27 years, it terrorises the town’s children, feeding on their fears and
dragging them down to the cavernous underground tunnels where they’ll float –
just like one of the balloons it offers as bait whilst posing as a monstrous
clown called ‘Pennywise’.
27 years after
Wallace’s mini-series, mirroring the titular character itself, ‘It’ resurfaces
again, this time in the guise of a big-budget cinematic remake split into two separate
chapters. Unlike Wallace before him, current helmer Andy Muschietti (MAMA) and
his screenwriters appear to have been afforded the comparative luxury of more
than 4 hours in which to condense the sprawling narrative of King’s literary
doorstop - given that ‘Chapter One’ arrives in a massive (for horror) 2 ¼ hour
package. Dropping the original structure which cut back and forth between
events originally set in 1957 and the 80’s – 2017’s IT ‘Chapter One’ is focused
solely on the events of 1957 (now retro-updated to the late 1980’s), where we
get to spend the entire running time with the pre-teen versions of ‘The Losers’
Club’ - a misfit bunch of school kids who band together to fight the clown.
(Chapter Two will tackle events 27 years later when they will be forced to
return to Derry to confront Pennywise’s evil as grown-ups).
IT (2017)
‘Chapter One’ plays like a cross between STAND BY ME (itself based on King’s
novella ‘The Body’) and NIGHTMARE ON ELM STREET 3: DREAM WARRIORS with Bill Skarsgård’s scarily re-imagined
Pennywise as the Krueger-like ringmaster. Just like little Georgie Denbrough’s wax-coated
paper boat, the terrific young cast are the wax that keeps the film afloat
whenever it teeters and threatens to sink beneath its three-ring circus storm surges
of CGI-enhanced Pennywise manifestations. Not that the filmmakers are clowning
around, the level of onscreen violence and gore quota is surprisingly high, as
evidenced right from the get-go with the graphic playing of the iconic storm
drain encounter. (There’s also a brief but literally jolting slaughterhouse
sequence which I wouldn’t expect in a ‘15’ rated major studio release). A
geyser of blood erupts from a bathroom sink reminiscent of Johnny Depp’s deathbed
splurge from the original ELM STREET, whilst the symbolism it represents, given
the character it explodes over, references King’s own ‘Carrie’.
Bill Skarsgård’s version of Pennywise is darker and
less playful than Tim Curry’s much-loved impish 1990 incarnation. Inevitably some
will argue Curry’s iconic (clown) boots are too big for Skarsgård to fill (hey,
ask Jackie Earle Haley how that feels
like after the ELM STREET remake), but he stamps his own imprint on the
character, particularly in eye-rolling close-ups, and sufferers of coulrophobia
would still be well advised to give his interpretation a wide birth.
Resetting the first chapter in the late 80’s enables
the makers to tap into the current hysteria for STRANGER THINGS, even down to
casting Finn Wolfhard from the show as wise-cracking Richie Tozier, alongside
80’s iconography such as the GREMLINS bedroom poster and the local movie
house’s coming attraction; NIGHTMARE ON ELM STREET 5: THE DREAM CHILD (in
keeping with the film’s whole ELM STREET vibe). The late 80’s switch also
allows for a great ‘New Kids On The Block’ running gag between the fat new kid
on the block Ben (Jeremy Ray Taylor) and the object of his affection, Beverly
(the excellent Sophia Lillis). Ben’s unrequited love for Bev is endearing and
sweet, and young Taylor’s playing of the character yields a dignified pathos a
million miles away from the broad slapstick of say ‘Chunk’ in THE GOONIES.
Turning one’s attention away from the children’s performances, it must be
conceded that IT is far from
perfect. Muschietti over-cooks the numerous jump scares, which rarely land
their punches (at least on this jaded reviewer), whilst the score over-bakes just
about every beat. The finale confrontation is muddled and slightly
underwhelming (although it does afford the arresting image of the ‘floating’ to
which Pennywise keeps cracking on about). And despite agreeing they are safer
together, the kids frequently wander off down the sewer tunnels / haunted house
on their own (groan).
But these quibbles
aside; this is still a far better initial stab at King’s magnum opus than one
would dared have hoped for given recent King inspired misfires like THE DARK
TOWER and THE CELL. The stellar performances of the fantastic young cast that
compose ‘The Losers’ Club’ ensure we care about them even before that horrid
old clown pokes his grease painted red nose into their world. And as a result,
I for one - for once - wasn’t siding with the monster.
****(out of 5*)
Paul Worts
