In an entertainment landscape that finds so many forces competing for the attention of audiences, it's rare to find a genuine event movie. Despite having a plethora of worthy cinematic options this year, 2017's only real blockbuster in the truest sense of the word has been Wonder Woman, a film that slowly turned into a sensation through word-of-mouth. Even cash cows like Beauty and the Beast and Guardians of the Galaxy: Vol. 2 felt less like cultural events and more like movies that people saw out of a sense of obligation. But ever since the first trailer debuted for IT (I'm capitalizing the whole title for the sake of clarity), there has been a feeling around Hollywood that we were about to witness something that would be a legitimate game-changer. The trailer was watched nearly 200 million times in its first 24 hours, and the viral conversation felt vibrant and intense, carrying an energy that is rarely seen in discussions surrounding horror movies. IT felt different. There was something about this movie that was catching on with audiences.
You wouldn't know from the fact that it's about to demolish every single box office record known to mankind, but IT actually had a bit of a rocky road to the big screen. True Detective maestro Cary Fukunaga was originally set to helm the film, hoping to deliver a bold re-imagining of Stephen King's classic novel. But things fell apart as Warner Bros. and Fukunaga clashed (read more about this in an excellent piece from Birth Movies Death's Jacob Knight), resulting in the director leaving the project and being replaced by Mama filmmaker Andy Muschietti. King fans and cinephiles were immediately skeptical, and many suspected that Warner Bros. would ultimately botch the project. Early photos weren't exactly convincing, with one that Birth Movies Death writer and King megafan Scott Wampler turned into a meme known as "The Pipe." But as time went on, the hype train started to gain steam, and all signs pointed to something great.
As avid readers of this site know, I love all kinds of movies, and a great film is a great film, no matter the genre or budget. But there's something especially satisfying when a blockbuster comes together, when all of the pieces fit perfectly into place despite studio requirements and the inherent issues of modern big-budget filmmaking. We've already seen this a few times this year, and the fact that it just keeps happening is a testament to how great 2017 has been for movies. Because, yes, as you might have heard, IT is the real deal. A film with a foundation of elaborate scares and a big, bleeding heart of gold, IT is a pure delight, a blast of old-fashioned fun that feels like it was ripped straight out of the 1980s. After seeing the influence of King's work for years without even really knowing it (including with last year's Stranger Things), it's great to see the original story come to such vivid life. IT is an engaging work of pop culture, a terrifying, heartwarming work of retro insanity. This thing is straight-up magical in the scariest possible way.
IT begins with a bang, just like the classic King story. Bill Denbrough (Jaeden Lieberher) is making a toy boat for his brother Georgie (Jackson Robert Scott) during a particularly strong rainstorm, and Georgie excitedly rushes out to play with his new toy. Unfortunately, it slips down a sewer drain, which is where Georgie runs into Pennywise the Dancing Clown (Bill Skarsgård), an encounter that turns tragic for the young boy. Cut to several months later, and it's now summer 1989 in Derry, Maine, and the number of disappearances of young children has only grown. Bill has grown obsessed with finding his brother (who he insists is still alive), and despite their desire to have fun on their summer break, Richie Tozier (Finn Wolfhard), Eddie Kasbrak (Jack Dylan Grazer), and Stanley Uris (Wyatt Oleff) tag along with their grieving friend on his quest.
Slowly but surely, all of the boys will realize that something is rotten in Derry, a truth that none of the adults seem to recognize. And no, they're not talking about the gang of bullies led by the sadistic Henry Bowers (Nicholas Hamilton) and the soon-to-be-missing Patrick Hockstetter (Owen Teague). There's something truly sinister going on. Along with Beverly Marsh (Sophia Lillis), Mike Hanlon (Chosen Jacobs), and Ben Hanscom (Jeremy Ray Taylor), the young teens will form the Losers Club, an exclusive group of friends with a bond that helps them fend off evil. As Pennywise begins to haunt their nightmares in different forms, the Losers will uncover the truth of the monster that lurks below the surface of their idyllic town, and use all of their strength to destroy the ancient evil once and for good.
The scares are the primary attraction for horror-hungry audiences heading to see IT this weekend, and Muschietti's film does not disappoint. If anything, it's guilty of initially trying to make everything too scary, an issue that is mainly apparent in its slightly clunky first act. This is not a film that thrives on tension or fear of the unknown- IT goes straight for the jugular, showing you all of its cards in the early goings. But the film never even comes close to being repetitive, which is something that plenty of horror movies struggle with. Muschietti finds new ways to scare the audience each and every time, and the terrors on display are so diverse that you never really know what's coming. Whether it's a decomposing leper or a murderous clown, IT has endless ways to scare the hell out of you, and that's what makes it so entertaining. This is a film that is truly frightening without ever being exhausting, and the fact that Muschietti strikes such a perfect balance makes it a joy to watch.
But to simply discuss IT in terms of its effectiveness as a horror film diminishes the main quality that really makes this thing soar. It'd be like talking about exclusively about the plot of Stranger Things- sure, it's important, but there's an additional component that elevates it from being a just a fun ride to being something truly extraordinary. And in both instances, it's the chemistry between the kids. IT is a horror movie with a beating heart, and I think people often overlook that element when it comes to this genre. In order to really take something to that next level of memorable greatness, you need emotional investment in the story. Miraculously, IT delivered beyond my wildest expectations in that department. There was a moment near the end of this film that nearly brought a tear to my eye- it was so pure, so genuine, so unabashed in its display of friendship and emotion. Muschietti is a fine director and he deserves so much credit for this film's success, but make no mistake about it- the kids are the reason this film is so sensational.
King's work is defined by the way that it gives depth and humanity to children, something that very few other authors are able to do. That kind of emotional and psychological complexity is carried over to the film, where so much of the narrative hinges on the fears of the young protagonists and the bond that they develop. Some of the characters are more fleshed out than others, but all of the kids are so, so good. Jaeden Lieberher has been typecast as the precocious supergenius kid, almost solely based on his manner of speaking. He's able to eschew that with his performance as Bill, a young man faced to lead his friends while grappling with unspeakable tragedy. It's a turn that culminates with a truly heartbreaking moment, and I was very impressed by his work here. On the flip side, Sophia Lillis delivers her most spectacular scene towards the beginning of the film, a moment that wowed me and drew me into her world of suffering and fear. Lillis seems like a breakout star waiting to happen, and I can't wait to see where she goes from here.
Jack Dylan Grazer and Finn Wolfhard are experts at fast-mouthed comedic relief, but there's still a great deal of nuance to their performances. And I just absolutely fell in love with Ben Hanscom in this film, played to kind-hearted perfection by Jeremy Ray Taylor. Wyatt Oleff and Chosen Jacobs get the short end of the stick as Stanley Uris and Mike Hanlon, respectively, but they're still impressive in their own right. The thing is that while all of the kids are good on their own, it's their rapport and chemistry that helps the whole film click. As the stakes increase and as the evil entity brings them closer into its clutches, the bond between these characters grows in strength. You care for them, and you know that they care for each other. It's such a tough thing to pull off, but Muschietti and co-screenwriters Fukunaga, Chase Palmer, and Gary Dauberman do so with incredible ease. I fell in love with the Losers Club, and I think you will too. As scary as this movie can be, it wouldn't work without such an amazing core group of characters.
And it also wouldn't be nearly as effective without such a horrifying villain- the iconic Pennywise. Tim Curry brought the character to life in the 1990 miniseries, but Bill Skarsgård puts his own spin on the role in a way that will get under your skin. IT thrives mostly as a funhouse ride, but Skarsgård's Pennywise is the creepiest part of the film. There's an anarchic quality to the performance, an unpredictability that contributes to the fear factor of the whole thing. You never know if Pennywise is going to dance, laugh maniacally, or chomp a kid to bits, and it's fun to watch Skarsgård chew the scenery with such a monstrous role. If you weren't struck by a little coulrophobia before, I guarantee that this drooling, wild rendition of pop culture's scariest clown will put some fear in your heart.
IT is certainly a horror movie, but only ever so slightly does it fit that definition. This may seem like a controversial statement for a movie that features some nightmarish imagery and hair raising jump scares, but when it comes down to actual execution, IT has more in common with coming-of-age adventure movies than it does with, say, The Conjuring franchise. This is like an uber-violent version of The Goonies and Super 8, filled with all of the blood and gore that horror fans crave. Its power as a narrative lies mainly in its emotional core- the murders and the spooky scenes are merely an afterthought. The score from Benjamin Wallfisch is downright Spielbergian, and even though this is definitely an R-rated film, I have a feeling that it'll come to define this generation in a way that those 80s films did. For young film geeks who already devoured Stranger Things, IT will be the logical next step in the equation. It's big and bold and macabre and everything you want an 80s inspired romp to be.
People often give these types of films a lot of hate, and there's always a backlash to the hype that precedes it. Super 8 was called a Spielberg rehash, Stranger Things was called cheap nostalgia, and even some of those classics have been bashed over the years. But the truth is that we need films like IT. We need shows like Stranger Things. Not just because they connect us with an era that seemed simpler, and perhaps even more original in its cinematic output. But because it allows us to see the world through the lens of children, and there's something strangely thrilling about that. It connects with young audiences on an intrinsic level, and it touches adults who want to remember what it was like to be that age, to have friends and adventures that meant life and death. Maybe it's an idealized version of childhood drama, but then again, that's why we go for the movies. IT may be an imperfect horror movie at times, but it's a near-perfect celebration of childhood bonds, and a classic tale of good against evil. It's an adventure film that strikes a deep chord, and it's a funny, gleefully frightening journey that feels destined to become an instant classic. There's a reason this movie is going to make close to $100 million this weekend- it really is that good. I expected to have a blast with this film, but I didn't expect to fall in love with it quite like I did. IT is truly, surprisingly wonderful, an authentic work of pop art that will touch your heart whenever you're not trembling in fear.
IT begins with a bang, just like the classic King story. Bill Denbrough (Jaeden Lieberher) is making a toy boat for his brother Georgie (Jackson Robert Scott) during a particularly strong rainstorm, and Georgie excitedly rushes out to play with his new toy. Unfortunately, it slips down a sewer drain, which is where Georgie runs into Pennywise the Dancing Clown (Bill Skarsgård), an encounter that turns tragic for the young boy. Cut to several months later, and it's now summer 1989 in Derry, Maine, and the number of disappearances of young children has only grown. Bill has grown obsessed with finding his brother (who he insists is still alive), and despite their desire to have fun on their summer break, Richie Tozier (Finn Wolfhard), Eddie Kasbrak (Jack Dylan Grazer), and Stanley Uris (Wyatt Oleff) tag along with their grieving friend on his quest.
Slowly but surely, all of the boys will realize that something is rotten in Derry, a truth that none of the adults seem to recognize. And no, they're not talking about the gang of bullies led by the sadistic Henry Bowers (Nicholas Hamilton) and the soon-to-be-missing Patrick Hockstetter (Owen Teague). There's something truly sinister going on. Along with Beverly Marsh (Sophia Lillis), Mike Hanlon (Chosen Jacobs), and Ben Hanscom (Jeremy Ray Taylor), the young teens will form the Losers Club, an exclusive group of friends with a bond that helps them fend off evil. As Pennywise begins to haunt their nightmares in different forms, the Losers will uncover the truth of the monster that lurks below the surface of their idyllic town, and use all of their strength to destroy the ancient evil once and for good.
The scares are the primary attraction for horror-hungry audiences heading to see IT this weekend, and Muschietti's film does not disappoint. If anything, it's guilty of initially trying to make everything too scary, an issue that is mainly apparent in its slightly clunky first act. This is not a film that thrives on tension or fear of the unknown- IT goes straight for the jugular, showing you all of its cards in the early goings. But the film never even comes close to being repetitive, which is something that plenty of horror movies struggle with. Muschietti finds new ways to scare the audience each and every time, and the terrors on display are so diverse that you never really know what's coming. Whether it's a decomposing leper or a murderous clown, IT has endless ways to scare the hell out of you, and that's what makes it so entertaining. This is a film that is truly frightening without ever being exhausting, and the fact that Muschietti strikes such a perfect balance makes it a joy to watch.
But to simply discuss IT in terms of its effectiveness as a horror film diminishes the main quality that really makes this thing soar. It'd be like talking about exclusively about the plot of Stranger Things- sure, it's important, but there's an additional component that elevates it from being a just a fun ride to being something truly extraordinary. And in both instances, it's the chemistry between the kids. IT is a horror movie with a beating heart, and I think people often overlook that element when it comes to this genre. In order to really take something to that next level of memorable greatness, you need emotional investment in the story. Miraculously, IT delivered beyond my wildest expectations in that department. There was a moment near the end of this film that nearly brought a tear to my eye- it was so pure, so genuine, so unabashed in its display of friendship and emotion. Muschietti is a fine director and he deserves so much credit for this film's success, but make no mistake about it- the kids are the reason this film is so sensational.
King's work is defined by the way that it gives depth and humanity to children, something that very few other authors are able to do. That kind of emotional and psychological complexity is carried over to the film, where so much of the narrative hinges on the fears of the young protagonists and the bond that they develop. Some of the characters are more fleshed out than others, but all of the kids are so, so good. Jaeden Lieberher has been typecast as the precocious supergenius kid, almost solely based on his manner of speaking. He's able to eschew that with his performance as Bill, a young man faced to lead his friends while grappling with unspeakable tragedy. It's a turn that culminates with a truly heartbreaking moment, and I was very impressed by his work here. On the flip side, Sophia Lillis delivers her most spectacular scene towards the beginning of the film, a moment that wowed me and drew me into her world of suffering and fear. Lillis seems like a breakout star waiting to happen, and I can't wait to see where she goes from here.
Jack Dylan Grazer and Finn Wolfhard are experts at fast-mouthed comedic relief, but there's still a great deal of nuance to their performances. And I just absolutely fell in love with Ben Hanscom in this film, played to kind-hearted perfection by Jeremy Ray Taylor. Wyatt Oleff and Chosen Jacobs get the short end of the stick as Stanley Uris and Mike Hanlon, respectively, but they're still impressive in their own right. The thing is that while all of the kids are good on their own, it's their rapport and chemistry that helps the whole film click. As the stakes increase and as the evil entity brings them closer into its clutches, the bond between these characters grows in strength. You care for them, and you know that they care for each other. It's such a tough thing to pull off, but Muschietti and co-screenwriters Fukunaga, Chase Palmer, and Gary Dauberman do so with incredible ease. I fell in love with the Losers Club, and I think you will too. As scary as this movie can be, it wouldn't work without such an amazing core group of characters.
And it also wouldn't be nearly as effective without such a horrifying villain- the iconic Pennywise. Tim Curry brought the character to life in the 1990 miniseries, but Bill Skarsgård puts his own spin on the role in a way that will get under your skin. IT thrives mostly as a funhouse ride, but Skarsgård's Pennywise is the creepiest part of the film. There's an anarchic quality to the performance, an unpredictability that contributes to the fear factor of the whole thing. You never know if Pennywise is going to dance, laugh maniacally, or chomp a kid to bits, and it's fun to watch Skarsgård chew the scenery with such a monstrous role. If you weren't struck by a little coulrophobia before, I guarantee that this drooling, wild rendition of pop culture's scariest clown will put some fear in your heart.
IT is certainly a horror movie, but only ever so slightly does it fit that definition. This may seem like a controversial statement for a movie that features some nightmarish imagery and hair raising jump scares, but when it comes down to actual execution, IT has more in common with coming-of-age adventure movies than it does with, say, The Conjuring franchise. This is like an uber-violent version of The Goonies and Super 8, filled with all of the blood and gore that horror fans crave. Its power as a narrative lies mainly in its emotional core- the murders and the spooky scenes are merely an afterthought. The score from Benjamin Wallfisch is downright Spielbergian, and even though this is definitely an R-rated film, I have a feeling that it'll come to define this generation in a way that those 80s films did. For young film geeks who already devoured Stranger Things, IT will be the logical next step in the equation. It's big and bold and macabre and everything you want an 80s inspired romp to be.
People often give these types of films a lot of hate, and there's always a backlash to the hype that precedes it. Super 8 was called a Spielberg rehash, Stranger Things was called cheap nostalgia, and even some of those classics have been bashed over the years. But the truth is that we need films like IT. We need shows like Stranger Things. Not just because they connect us with an era that seemed simpler, and perhaps even more original in its cinematic output. But because it allows us to see the world through the lens of children, and there's something strangely thrilling about that. It connects with young audiences on an intrinsic level, and it touches adults who want to remember what it was like to be that age, to have friends and adventures that meant life and death. Maybe it's an idealized version of childhood drama, but then again, that's why we go for the movies. IT may be an imperfect horror movie at times, but it's a near-perfect celebration of childhood bonds, and a classic tale of good against evil. It's an adventure film that strikes a deep chord, and it's a funny, gleefully frightening journey that feels destined to become an instant classic. There's a reason this movie is going to make close to $100 million this weekend- it really is that good. I expected to have a blast with this film, but I didn't expect to fall in love with it quite like I did. IT is truly, surprisingly wonderful, an authentic work of pop art that will touch your heart whenever you're not trembling in fear.
THE FINAL GRADE: A (9.1/10)
Images courtesy of Warner Bros./New Line
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