IT: Movie Man Jackson

Tears of a clown? More like fears of a clown. The town of Derry, Maine is a quite a peculiar one. People disappear at six times the normal national average, and that’s just adults. For kids, it’s worse—way—worse. No one knows why. The latest child to go missing is Georgie Denbrough (Jackson Robert Scott), brother of Bill (Jaeden Lieberher).

Everyone around him, friends included, assumes he’s dead. Bill refuses to stop looking, and goes all in during the summer to figure out what happened. Along with Richie (Finn Wolfhard), Eddie (Jack Dylan Grazer), Stanley (Wyatt Oleff), Ben (Jeremy Ray Taylor), Beverly (Sophia Lillis), and Mike (Chosen Jacobs), “The Losers Club” begins to witness firsthand what is going on in Derry. What they witness is some all-powerful presence known commonly as “Pennywise the Clown” (Bill Skarsgård) that feeds off children that can morph into anything IT wants to, by gaining power from those who experience fear. Standing no chance alone of defeating it, the club will have to stick together to overcome this entity.

IT has been a long time coming, literally and figuratively. The re-imagining of the original 1990 feature was in development hell for an eternity, suffering through casting and directing defections before finally getting everything in place for a 2017 release, ironically 27 years after. Figuratively speaking, while there’s certainly been a few smaller good movies over the last month and a half, nothing since Dunkirk has truly been a must-watch go see event. IT is the shot-in-the-arm the box office needs; short of a flawless horror but one worthy of praise.

You’ve got to start with Pennywise, right? The version that appears here is very much different than the one in 1990. No one’s going to call Tim Curry’s rendition mediocre because it wasn’t; but the gifs have been seen and immortalized and looking at it now, IT 1990 is a little bit campy. Bill Skarsgård’s rendition is much more menacing. He makes the killer clown, instead of the killer clown and all of the get-up making him.

And as a whole, this new IT is simply darker. Pennywise is the main attraction, but the mature themes and implied happenings are arguably more darker and unsettling than any jump scares or things the dancing clown can conjure up. There feels as if there’s a missed opportunity to go deeper into the source material and Stephen King’s novel lore (the town, why people can’t see certain things, etc.), but the execution of the story as is makes for a solid one; sort of a mash up of Stranger Things meets Stand By Me and John Hughes movies with a smattering of blood and gore.

For a film that runs at 2 hours and 15 minutes, director Andy Muschietti (Mama) rarely loses pace, save for a rushed stretch in the early middle that calls for almost every child to experience IT. Muschietti sets up the tone immediately, crafting an unforgettable opening scene with help from composer Benjamin Wallfisch that is essentially the original yet undoubtedly improves upon it. Many of his scenes make a lasting impression, utilizing great lighting and positioning to create the desired effect. Not all is perfect, though. Muschietti hooks his audience quickly and doesn’t let go, but IT reaches its peak around 30 minutes to go, making for a climax that isn’t as chilling as what came before. Part of that is due to the mediocre—sometimes shoddy—CGI that dilutes the experience.

What doesn’t dilute the experience is the overall impressive efforts of the adolescent cast that makes up The Losers Club. Some performances individually are more buoyant than others, but this is a movie that leans more on the collective chemistry and even levity (there’s much of it) of the group rather than particular standouts. To that end, each of the seven performers make the viewer care about the group, and by associative property, the viewer cares about them as individuals surviving this horror.

IT is event-viewing, steered by confident and passionate direction and a great cast. We’ll just have to wait and see if Chapter II can float, too.

B

Photo credits go to popculture.com, horrorfreaknews.com, and collider.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

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Midnight Special: Movie Man Jackson

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No, this Midnight Special isn’t something you can get at IHOP. In San Angelo, Texas, an Amber Alert has been launched for eight year old Alton Meyer (Jaeden Lieberher). He’s been abducted by two males, Roy (Michael Shannon), and Lucas (Joel Edgerton), and the abduction quickly makes national news. Are these guys dangerous, or are they saints rescuing Alton from a terrible fate?

It’s quickly seen that these two fellows are not the only people who are after Alton. Other entities, such as the government, and a fanatical cult, are trying to harness for their own gain. What gain? Well, he’s got tremendous powers, and would be an asset for these entities in many fashions.

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As other reviewers have noted, it’s hard to pin down exactly what Midnight Special is. It doesn’t fit neatly into a specific genre, as the fact of the matter is, it is a thriller, science fiction, drama, fantasy, even a family film. For many films, being stretched across multiple categories spells would spell nothing but a trouble in focus, but Jeff Nichols’ (Mud) feature quite easily manages to meld all into something worthwhile.

Sometimes, it’s more about the journey than the actual final destination. Nichols really takes that sentiment to heart in Midnight Special. The screenplay, penned by Nichols itself, revels in giving little, or even nothing at all in some cases. For yours truly, the latter can be a little frustrating in its steadfastness in refusing to reveal any concrete ideas. This lack of finality only impacts the ending, though, in my opinion, As it stands, the ending is fine, and does tie in ultimately with the core of the story. For me, at least, it is a little disappointing if only because I felt like there was one trick up Nichols’ sleeve to use. Extremely vague thoughts, I know, but only because it isn’t right to go too deep into the plot.

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Still, the production quality that Nichols wrings out of an 18 million budget is nothing short of extraordinary, like its main character. Obviously, it is very early to say, but it is hard seeing any other fairly small budget movie looking as big-budget-esque as Midnight Special does. Seriously, the effects are of high quality, adding more to the mysteries and slow reveal of the plot when they are used. They are so good, one wishes that more of the why and how could be explored to them. Outside of effects, the movie just features excellent cinematography, both in the daytime, nighttime, out in the open of nowhere, or in the confines of a white-light enclosed space.

The cast hits all of the right notes as well, starting with the young Jaeden Lieberher as Aldon. His role isn’t that talkative, but it does require a huge presence for a child actor that Lieberher brings to the role. It’s very cool, calm, and collected work. Supporting actors Kirsten Dunst and Joel Edgerton are supporting, in the truest sense, which is to say they’re doing their jobs and doing them well. Adam Driver’s character is really the audience in a nutshell, gradually getting more information to the scenario at hand and reacting appropriately.

But Michael Shannon’s character is a chameleon as it pertains to how we as the audience are supposed to feel to him. Though surely his role in the story is made known in many summaries, I was pleasantly surprised at his involvement, and feel it wrong to reveal it here. Just know that his involvement to the story is touching, and relatable to many.

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Full of intrigue and mystery from the get-go, Midnight Special is a fun journey, akin to a road trip to nowhere. The final stop may not be worth remembering, but the drive to it is.

Grade: B

Photo credits go to yahoo.com, collider.com, and huffingtonpost.com. Links to digitalshortbread.com, fastfilmreviews.com, and keithandthemovies.com.

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