Rated R for disturbing violent content and bloody images throughout, pervasive language, and some crude sexual material.
2 hours 49 minutes
When Andy Muschietti’s film adaptation of Stephen King’s sprawling novel It was released in 2017, it scared up box office numbers that not even the most optimistic figures could have predicted.
Two years later, Muschietti and crew are back with some new cast additions to tell the second half of King’s 1,000-plus page story. Like its predecessor, It Chapter Two is surprisingly thorough in the translation of its source material. But more importantly, it’s true to the darkly nostalgic spirit of the book.
On the whole, the follow-up isn’t as successful as the first film, but its go-for-broke attitude among a sea of uninspired blockbusters is admirable if nothing else.
Twenty-seven years after the Losers Club made a pact to stop the evil clown Pennywise (Bill Skarsgård) if he should ever re-emerge in Derry, the evil entity rises up from the sewers once again. Now all in their early 40s and spread out in various parts of the country, each of the members gets a call from Mike (Isaiah Mustafa), the one Loser who never left Derry, with the bad news. With trepidation, the gang returns to their old haunts, with Bill (James McAvoy) returning in his de facto leader role. The bickering between jokester Richie (Bill Hader) and the panicky Eddie (James Ransone) resumes right where it left off while the long lost romance between Bev (Jessica Chastain) and Ben (Jay Ryan) is also rekindled.
Flaunting a 170-minute runtime, the most glaring issue with It Chapter Two is its length. There’s a reason most horror films tend not to break the two-hour mark: it’s difficult to keep an audience in suspense for that amount of time, no matter how good the premise is. That would also explain why it doesn’t take much time for the bevy of CG-based scares to get redundant, despite some worthwhile setups. The most terrifying scene, in which Bev returns to her childhood apartment with a precarious new tenant, was thoroughly spoiled in the theatrical trailer.
Thankfully, the film doesn’t rely on its horror elements as much as its predecessor and the dramatic and comedic beats often trump the creepy creature effects.
It certainly had some humor to it but there’s no mistaking its intentions as a horror movie above all. What surprised me most about its sequel is how often and how hard I laughed while watching it, likely more than I did for most straight-ahead comedies released this summer. The biggest contributing factor for this is Hader, who continues to put together an impressive post-SNL resume with roles that play to his comedic strengths while deepening his dramatic chops as well. His Richie is a fun audience surrogate as someone who takes the terrors of the story seriously but often responds with humor as a way of combating his fear.
Another strength of the original was its stellar casting and the adult counterparts for the young actors are exceedingly well-realized. The resemblance between Eddie actors James Ransone and Jack Dylan Grazer is particularly uncanny, evidenced by a shot that overlays both actors’ faces on top of one another to eerie effect. Similar looks aid continuity but more importantly, the performances by the adult actors mirror the respective work by the younger actors to great effect. As a blockbuster horror entry with plenty of ambition, It Chapter Two floats more often than it sinks.
Coming to theaters this weekend
The Goldfinch, starring Ansel Elgort and Nicole Kidman, tells the story of a boy who is taken in by a wealthy Upper East Side family after his mother is killed in a bombing at the Metropolitan Museum of Art.
Hustlers, starring Jennifer Lopez and Constance Wu, follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients during the late-2000s financial crisis.
Opening at Cinema Center is Linda Ronstadt: The Sound of My Voice, a documentary about the Grammy Award-winning singer who broke out in the folk music scene of the 1960s and solidified herself as the “queen of country rock” in the ensuing decades.
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