#loganthompson

One of the most fascinating things about fandoms is the completely random nature they have in regards to the properties they choose to champion.  I’m almost positive that when Stephen King initially wrote It, he never dreamed there would be not only multiple movies, but an extremely devoted fanbase and a general recognition of the collective fear of clowns held by the general public.  Personally, I didn’t catch It-mania the first time around (even as a fan of Tim Curry), so when the recent remake hit the theaters, I felt no sense of urgency to see it.  It was seeing the trailers for It Chapter Two, however, that finally piqued my interest and brought me to a viewing of the 2017 remake.

Bill Denbrough (Jaeden Lieberher) is home sick, but in a gesture of kindness, he makes a paper boat for his younger brother Georgie (Jackson Robert Scott) to play with in the rain.  Georgie loses the boat in the gutter, and while peering in, he is scared, taunted and eventually assaulted by Pennywise (Bill Skargard), an ominous and terrifying clown.  Bill is scarred by the event, but with the support of The Losers Club, his close knit group of friends, he plans to comb the sewers of Derry, Maine in hopes of uncovering the truth about his brother.  The Losers Club, consisting of the brash Richie Tozier (Finn Wolfhard), mother’s boy Eddie Kaspbrak (Jack Dylan Glazer), and the pragmatic Stanley Uris (Wyatt Oleff), try to console Bill and keep his mind off of things, but Bill is unshaken in his quest for the truth.  Meanwhile, tomboy Beverly Marsh (Sophia Lillis), in an attempt to find friendship amidst a nasty rumor campaign the town has adopted about her, befriends newcomer Ben Hanscom (Jeremy Ray Taylor), a shy bookworm that has taken it upon himself to study the turbulent history of Derry.  All the while, Mike Hanlon ( Chosen Jacobs), a young black kid from the outskirts of town, is attempting to adapt to a life under the care of his hardworking grandfather in the wake of a housefire that killed his parents.  All six children are tormented by the Bowers Gang, led by Henry Bowers (Nicholas Hamilton), the irrationally violent son of a Derry police officer.  As the bond grows between the kids amidst the nightmarish attacks by Pennywise and the Bowers Gang, the newly expanded Losers Club must use all the tools at their disposal to defeat an enemy they do not understand, while nurturing a connection deeper than any they’ve ever known.

I really and truly do not know where to begin with this movie, and it is almost impossible to discuss this film without bringing up (if not making direct comparison to) the 1990 TV miniseries.  I can flat out state that the 2017 film is an overall better film, and one that will more than likely escape the curse of looking dated decades down the road, save for astronomical leaps in technology.  The most interesting thing about this movie, however, is the fact that it is not really a horror or suspense film, despite it having the shapings of one.  No matter the nature of your enemy or villain in a horror film, there has to be a hint of reality in the mix to truly instill fear.  Freddy may be over the top, but the damage he inflicts is tangible and visible to observers (we will circle back around to the Freddy thing momentarily).  Jason instills fear because he never stops coming, and his attack is brutal when he catches you.  Vampires, zombies, werewolves and even Frankenstein’s monster are rooted in historical lore.  Pennywise, while being a fascinating villain, fails to land as a true terror due to a two-parted shortcoming : his outlandish nature makes him more of a cartoon character than a true threat, and as the kids state multiple times within the film, none of what he does is ‘real’ unless you fear him.  It is intriguing how his power is, on the one hand, limited to perspective, but on the other hand, seemingly limitless due to the number of tricks he displays during the film.

For all the things that It does correctly, there is a series (and a villain) that does it better : Nightmare on Elm Street and the aforementioned Freddy.  Rag tag group of high school misfits?  Check.  Ominous threat, based in the history of the city that it dwells in, that manifest mostly in the minds of its victims, though the repercussions of its actions are very much felt in the real world?  Check.  Heavy dose of the 1980s?  Check.  Equal doses of fear, controversy and humor?  Check.  That is not to say that It is not an entertaining and truly fascinating film, but with the burden of comparison to past versions of itself already on the table, it’s got enough of a mountain to climb to win over both those faithful to the creator of the property and those faithful to the original and iconic depiction of the titular character.

It may sound like I’m coming down rough on this film, but there are many things that it does quite well.  For a film that displays the levels of violence that this one does, it does not necessarily glorify it or force you to dwell in it... even a broken arm is taken in as more of a realization than a focus, therefore making it easier to digest.  The special effects are monumental, yet their visual integration is subtle and natural.  For a film that is mostly carried by child and teenage actors, the acting is surprisingly strong across the board, even when the material is failed by forced exposition or finds itself in the realms of tropes.  The sound design enhances the experience of the film, towing the line between building real suspense and reliance on jump scares with a finesse and restraint often not found in films of this nature.  For a film where the villain/monster is so heavily present, Pennywise surprisingly does not wear out his welcome, remaining stunning and hard not to enjoy from the moment he pops up in the sewer until the moment he falls into the recesses of the well.

Jaeden Lieberher does a solid job as the sympathetic protagonist, finding a good range in regards to the use of his stutter, how believable he executes it, and the moments it goes away.  Sophia Lillis steals the show with a confidence that bursts off the screen, and a killer smile to match.  Jeremy Ray Taylor manages to dodge typecasting as the ‘fat kid’ as he proves himself to be one of the more valuable members of the Losers Club, while turning in a strong and endearing performance.  Wyatt Oleff is forced to show a restraint not placed upon his costars as the groups’ voice of reason, but he does manage to bring dignity and logic to the crew, as well as a sense of rationale and reason in the midst of the mind-blowing.  The joy that Finn Wolfhard is feeling in light of being given the green light to fully cut loose is impossible to ignore.  Chosen Jacobs is not given much to work with, but similar to Oleff, he provides a grounding nature to the group.  Jackson Robert Scott manages to somehow be one of the tougher members of the group while also leaning into his role as momma’s boy.  Bill Skargard fully commits to making Pennywise as creepy, off-putting and uncanny valley reminding as he can.  Nicholas Hamilton proves to be a serious threat, even as the secondary antagonist.  Performances by Stephen Bogaert, Jake Sim, Owen Teague, Logan Thompson, Pip Dwyer and Stuart Hughes also stand out.