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Darren (1599 KP) rated A Street Cat Named Bob (2016) in Movies
Dec 18, 2019
Verdict: Delightful
Story: A Street Cat Named Bob starts as we meet homeless addict James (Treadaway) who spends his days singing for enough money that could get him a meal and a fix, when he overdoes, Val (Froggatt) gives him a chance to get emergency living to clean up with act. James is willing to make this happen and he ends up meeting a stray cat.
Reluctantly James decides to keep Bob the cat and learns to grab a new lease for life and that as a double act they could achieve things he could only dream of as a musician, as well as finding love in one of the neighbours Betty (Gedmintas).
Thoughts on A Street Cat Named Bob
Characters – James is a homeless drug addict who has an overdose. He is given a big chance to go on the path to recovery with an emergency home, where he meets a cat and suddenly he starts to see his life turn around, his busking lifestyle sees him make money, he meets a new woman and can support himself, he will need to go through the toughest test of his life, if he wants to break free of his addictions. Bob is the ginger cat that turns up in James’ life, he won’t leave his side as he helps him clean up his act. Betty is the neighbour that becomes James only human friend, she will show him about vegan life becoming a love interest, even though she has seen how being an addict has taken away somebody in her life before. Val is the person that pushes James into the program, believing he can change and will change, she supports him through the whole process.
Performances – Luke Treadaway in the leading role is brilliant to watch, he shows us just how desperate James is to turn his life around and what he must go through. Ruta Gedmintas and Joanne Froggatt are both great in the supporting roles in the film too.
Story – The story here follows a homeless drug addict that gets his life turnaround thanks to the help of one person and a mysterious ginger cat that gives him happiness. This is based on the real story of the man James and Bob the real cat, we see the recovery process, just how difficult it can be for somebody who is trying to turn their life around. We can see how the ending will come about because there is a book about the turn around, even though it does become entertaining throughout the film.
Biopic/Comedy – The biopic side of this film does show how James does turn his life around, it is shown in a way that could see the struggle he will be facing. The comedy of the film does give you a couple of laughs with how Bob interacts in life.
Settings – The film is set in London which does show how the culture of the homeless people being able to survive around town that is filled with a drug culture that could end their fight.
Scene of the Movie – First day out with Bob.
That Moment That Annoyed Me – Nothing really.
Final Thoughts – This is a delightful little comedy that brings to life one man’s journey to salvation with his new friend Bob the cat.
Overall: Feel Good Movie.
Story: A Street Cat Named Bob starts as we meet homeless addict James (Treadaway) who spends his days singing for enough money that could get him a meal and a fix, when he overdoes, Val (Froggatt) gives him a chance to get emergency living to clean up with act. James is willing to make this happen and he ends up meeting a stray cat.
Reluctantly James decides to keep Bob the cat and learns to grab a new lease for life and that as a double act they could achieve things he could only dream of as a musician, as well as finding love in one of the neighbours Betty (Gedmintas).
Thoughts on A Street Cat Named Bob
Characters – James is a homeless drug addict who has an overdose. He is given a big chance to go on the path to recovery with an emergency home, where he meets a cat and suddenly he starts to see his life turn around, his busking lifestyle sees him make money, he meets a new woman and can support himself, he will need to go through the toughest test of his life, if he wants to break free of his addictions. Bob is the ginger cat that turns up in James’ life, he won’t leave his side as he helps him clean up his act. Betty is the neighbour that becomes James only human friend, she will show him about vegan life becoming a love interest, even though she has seen how being an addict has taken away somebody in her life before. Val is the person that pushes James into the program, believing he can change and will change, she supports him through the whole process.
Performances – Luke Treadaway in the leading role is brilliant to watch, he shows us just how desperate James is to turn his life around and what he must go through. Ruta Gedmintas and Joanne Froggatt are both great in the supporting roles in the film too.
Story – The story here follows a homeless drug addict that gets his life turnaround thanks to the help of one person and a mysterious ginger cat that gives him happiness. This is based on the real story of the man James and Bob the real cat, we see the recovery process, just how difficult it can be for somebody who is trying to turn their life around. We can see how the ending will come about because there is a book about the turn around, even though it does become entertaining throughout the film.
Biopic/Comedy – The biopic side of this film does show how James does turn his life around, it is shown in a way that could see the struggle he will be facing. The comedy of the film does give you a couple of laughs with how Bob interacts in life.
Settings – The film is set in London which does show how the culture of the homeless people being able to survive around town that is filled with a drug culture that could end their fight.
Scene of the Movie – First day out with Bob.
That Moment That Annoyed Me – Nothing really.
Final Thoughts – This is a delightful little comedy that brings to life one man’s journey to salvation with his new friend Bob the cat.
Overall: Feel Good Movie.
James P. Sumner (65 KP) rated Joker (2019) in Movies
Oct 7, 2019
An unapologetic masterpiece.
I wasn't sure what to expect going into this film. I'm a huge comic book fan, so the controversy and scepticism surrounding this movie, as well as the fact it's based within an established story world, had me doubting how it would work and how good the execution of it would be.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
I certainly didn't expect the film I saw.
The basis for this movie is simple and effective: Arthur Fleck (played with a career-defining performance by Joaquin Phoenix) is a mentally unstable and depressed wannabe stand-up comedian working as a clown in a 1980's Gotham City. The movie is set against a backdrop of civil unrest, worker strikes and city-wide poverty, with each being exaggerated to highlight both the severity of each one for the purposes of the film, but also to shine a spotlight on how tough the real world was back then.
A potentially fatal encounter on a late-night subway acts as a catalyst for Fleck, who is shown throughout the first 20 minutes to be a man living on a knife's edge - balancing his own pitiful existence with the way society believes he should act. You get the sense that it would take nothing more than a gentle push to send him one way or the other. The subway was that push.
In a city that very much reflects the character's state of mind, this served to push more than just Arthur Fleck over the edge. Because he happened to be dressed as a clown at the time, and because the *cough* victims *cough* worked for Wayne Enterprises (ran by Thomas Wayne himself), it's seen by many as a vigilante act - someone standing up to the rich elite. This sparks outrage and rioting across the city. The idea of a man dressed as a clown standing up for the little guy becomes the poster child for a civil movement, much in the styling of "V For Vendetta (2005)".
The more Arthur Fleck struggles personally, the worse the streets of Gotham seem to get, as if society's increasing tension and unrest is somehow linked to his own state of mind. He finally realises what he has inadvertently created and begins to transform himself into the vigilante icon people already believe him to be.
Despite the slow pace of the movie, it never seems to drag. The story of Fleck's inevitable descent unfolds patiently, showing you exactly what it wants you to see, when it wants you to see it. It's a very bold and confident step for a movie which would've known how controversial it was going to be before it was even released.
The style of the film is extremely clever. The soundtrack is little more than a low-frequency hum, which plays almost constantly throughout. The camerawork is also exceptional. In every shot of Arthur Fleck, the camera centres on him before very slowly closing in on him. It's subtle, perhaps only a few millimetres per shot, but it's noticeable enough that you feel yourself being pulled in, being legitimately gripped by what you're watching. This contributes to what is, overall, a claustrophobic and sometimes unnerving experience.
There has been initial controversy about the film, with reports of people leaving the cinema during the screening for varying reasons. You see this from time to time, and the cynic in me thinks this is rarely more than clever marketing tactics. And then you see the comments from people who say they were disgusted or sickened or disturbed or whatever. I usually think it's a load of rubbish. That people are just saying that for attention. I don't honestly believe people who are that easily offended by a movie would choose to see something that is clearly going to show you all the things you don't like.
However, with "Joker (2019)", I can actually understand it. This is a truly disturbing film. Not for the violence, which has been the subject of much debate. There's actually very little violence in the movie, but when it's there, it's pretty graphic, admittedly. But honestly, it's not anywhere near as bad as a lot of things you see nowadays. No, it's disturbing because of how believable Arthur Fleck is. Seeing how unstable he is. Seeing how easy he can choose to do terrible things. It's... uncomfortable to watch at times, but only because it's so well done, so well written, you hate yourself for sympathising with him.
If I had to draw comparisons for this movie, I would have to say it's more subtle than "Watchmen (2009)", it's grittier and darker than "Taxi Driver (1976)" or "Fight Club (1999)" and much more uncompromising and unapologetic than "Natural Born Killers (1994)". It is truly a modern-day masterpiece. There are two major plot twists, both occurring in the second act, which really highlight the genius behind the screenplay. This movie is written perfectly, and executed the same way on-screen by Phoenix, who draws from both Jack Nicholson and Heath Ledger to create this unique take on the character which more than holds its own.
Now, before I summarise, we do need to address the whole... y'know... Batman thing. This is the Joker's origin story, after all.
So, first thing's first: this isn't a comic book movie. Not by a long way. This belongs in the same conversation as Goodfellas, not Guardians of the Galaxy. Director Todd Phillips has even stated that this is simply a stand-alone movie telling a story that needed to be told. Yes, it has references to the DC comic universe (which I will omit here for fear of venturing into spolier territory), but it's unlikely to ever cross over with DC's attempt to mimic the MCU.
The nods to the comics are infrequent but clever, touching on themes and events we already know, and in some cases, re-writing them entirely - which definitely will draw controversy with the hardcore comic fans. For example, I did question why they used the civil unrest subplot and backdrop to essentially try and make Wayne Enterprises the villain of the story, but like it or not, it was necessary and it worked like a charm.
I don't know if this was intentional or not, but there was one scene in particular towards the end of the movie where the Joker (as he is now) is riding in the back of a car with his head leaning against the window. The camera was on the wing mirror, focused on his face, and almost frame-for-frame it reminded me of the iconic scene in "The Dark Knight (2008)" where Heath Ledger's Joker is driving with his head out of the window. I'd like to think this was a gracious tribute to the performance of this character that will never be topped.
For a film that breaks the conventions of story-telling by having no real build-up or climactic ending, I have to say I can't remember a time when I was so blown away, so moved, and so affected by a movie. As close to perfect as you'll see this year.
10/10
A quick side note:
The show "13 Reasons Why" has a disclaimer at the beginning of each series from the cast that essentially warns viewers that, due to the sensitive nature of the content, it's inadvisable to watch it if you're struggling with depression or suicidal thoughts. I genuinely think this film should carry a similar notice. It's a dark, grim, unrelenting journey into one man's depressive life. While I won't ever believe listening to Marilyn Manson can make you want to shoot schoolchildren, I do think that if someone is struggling with suicidal thoughts or depression, this movie probably isn't for them. The story focuses on the media glorifying the terrible acts of someone who is mentally unstable. Yes, it's a movie. It's not real. But for someone in a very bad place themselves, this probably isn't the kind of thing you need to, or should, watch.
Phantasy Star II ™ Classic
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Kirk Bage (1775 KP) rated The Expanse in TV
Sep 4, 2020 (Updated Feb 11, 2021)
In this particular future, where there exists a cold war tension between the splintered factions of humanity across the solar system, all is not well. Earthers, Dusters (Martians) and Skinnies (Belters) compete for resources and political strength in an ever shifting landscape of trust and betrayal. It is a sci-fi geek’s paradise, full of believable tech, an extensive character list and jargon coming out of the wazoo! It’s all very complicated… and season five just finished airing on Amazon Prime on Wednesday 3rd Feb, so I thought it a good time to talk about it in detail.
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
Based on the novel series by James S. A. Corey (actually the assumed name of collaborators Ty Franck and Daniel Abraham), which began in 2011 and has produced one book a year since, the TV version has been on the go since 2015, first at SyFy and then at Amazon after being cancelled unfairly, and to mass uproar from the fans, after Season three. It isn’t something you watch casually – either you are into it and make a point of obsessing about it, or you watch a few, feel completely lost and admit it isn’t for you; although you suspect it is good and you just didn’t make the effort to engage enough. Sci-fi this earnest can be like that: a little unforgiving to tourists and passers-by.
Personally, I went through 2 phases with it. The first was watching it late at night with autoplay on, falling in and out of sleep depending on how exciting what was happening was, missing a lot of the detail and feeling largely lost in space. The second was coming back to Season 4 recently (about 3 weeks ago), after taking in a full recap of the story, and becoming a true fan that couldn’t get enough of the complex web of storylines, motives and personalities. Catching up enough to have to wait a week between episodes for the last 4 weeks, which has been tremendously rewarding.
Not that I had a major problem with it from the start. I thought it had a great look and a great mood about it, but lacked some star quality in the cast and was fairly opaque storywise. It always had potential. It was a question of whether you could be bothered to invest in that, knowing that it may go nowhere or even get cancelled very quickly – the TV universe is not known for being kind to sci-fi, as die-hard fans of Firefly still weep about regularly, and quite correctly.
In season one you watch it for the only person onboard that you have heard of, namely Thomas Jane (from The Mist and The Punisher) as det. Joe Miller, a cynical sleuth complete with a great anachronistic hat, who gets wrapped up in a mystery so mysterious it is often hard to work out what he is doing at all, and why… he literally comes and goes, for reasons that become apparent in later seasons. A frustrating and yet fascinating entity that must have been a real test to get right.
The show’s main cast also take a lot of time to warm up, to the point where you wonder who they are and whether they will be in it for long? Steven Strait, Dominique Tipper, Wes Chatham and Cas Anvar, as the ragtag collective of a small ship (they eventually name The Rocinante) that finds itself at the centre of a huge political shitstorm as the last bastion of impartial hope and moral reasoning, exude such little charisma at first it all seems doomed to fail. But, something magical begins to happen, by virtue of being in their presence a lot – you start to care. And the more you care the more the subsequent events have the power to stun you sideways!
More than anything else I can think of in recent years, this is a show that rewards patient investment. You will have definite moments of wanting to quit or take a long break, but the more faith you show in it, the more it will reward you in the long run. For me it was the climax of season 3 when I realised I was 100% into it, and that everything that had happened to that point was now starting to make sense in a larger context. Basically, what you think this is and what you assume it is about early doors, is not where it ends up. It goes somewhere way better!
Perhaps because it has the support of the book series as inspiration, the writing and story arc feels stronger and stronger in time. There are to date 9 books, so there is still scope to let this run for a good few years. And it does start to feel like there is a point where it will all completely tie together. Anyway, I am rambling as much as an average episode seems to do here. The point is, there is something right on the tightrope edge of classic or near miss going on with this. The cast have all really grown into their skins and personalities, and there are some moments in seasons 4 & 5 that left me jaw dropped at their dramatic weight!
Look, this isn’t going to be for everyone. It is very easy to say “I don’t get it” and move on with this show, but I am a sci-fi veteran , if not full geek, and I now absolutely love it. Cult status then is what we are talking about here. There will be a good wait for season six now, but the cliffhanger is mouth-watering, so I am in! It’s far from impossible they will ruin the vibe at some point and it will all fall flat… or, it could become the stuff of legend. I’ll be there to find out either way. No chance I am doing 5 seasons of something to drop out at that point.
Take away the space and the spaceships and this is a story about division and rights, and the hard work it takes to meet a diplomatic solution to the many differences and grievances that exist between different tribes and factions. What will some do to gain power? What will others do to ensure freedom and justice? How easy is it to waste life in the name of a cause? Oh, yeah and there’s also the little detail of an ancient alien civilisation that have been leaving tech and artifacts all over the solar system for us to fight over and try to control. As I say, the main story element of it all still feels like a partial mystery, and I love that!
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IT… didn’t really float my boat.
IT is based on the Stephen King novel, and tells the disturbing recurring events that happen within the town of Derry in Maine. Kids keep disappearing and sightings of a spooky clown, other visitations and red balloons occur. A group of bullied high school kids – one directly impacted by the disappearances – work to get to the bottom of the supernatural goings on. (Fortunately they don’t have a dog called Scooby).
I had in mind that with the disturbing and dangerous “clowning around” that happened in the summer of 2016 that this film had been shot a while ago and the release delayed until now for fear of adding ‘clown-flavoured fuel’ to the fire. But it appears that filming only completed in September of last year, so that appears not to be the case.
The film starts memorably and brutally with the “drain scene” from the trailer. And very effective it is too. “Great!” you think… this is a spookfest that has legs! Unfortunately, for me at least, it all went downhill from there. The film really doesn’t seem to know WHAT it’s trying to be. There are elements of “Stand By Me”; elements of “Alien”; elements of “The Conjuring”, all thrown into a cinematic blender and pulsed well.
The most endearing aspects of the movie are the interactions of the small-town kids, with this aspect of the film bearing the closest comparison with J.J. Abrams’ “Super 8”. This is carried by the great performances of the young actors involved, with Jaeden Lieberher (so memorable in “Midnight Special”) as Bill; Jeremy Ray Taylor (“Ant Man”) as Ben (‘the chubby one’); and Finn Wolfhard, in his big-screen premiere and sporting an absurd set of glasses, as the wise-cracking Ritchie.
Standout for my though was the then 14-year old Sophia Lillis as Beverly (the nearest equivalent to the Elle Fanning role in “Super 8”). This young lady has SUCH screen presence, reminiscent of Emma Watson in the Harry Potter films. I think she is a name to watch!
While commenting on the acting I do need to acknowledge Bill Skarsgård (“Atomic Blonde” and son of Stellan Skarsgård) who is creepily effective as Pennywise the clown.
Having a film that just centred on the pubescent interplay between the youngsters and their battles against the near-psychopathic school bully Bowers (Nicholas Hamilton, “Captain Fantastic”) would have kept me well-entertained for two hours. However, in the same way that the hugely over-inflated Sci-Fi ending of “Super 8” rather detracted from that film, so the clown-related story popping up all the time just irritated me to distraction. (“WILL YOU JUST FECK OFF AND LEAVE US TO FIND OUT WHO BEVERLY GETS OFF WITH???!!”)
While the film has a number of good jump-scares, a lot of them – especially those with excessive use of CGI – just don’t really work. There are normally no “outcomes” from the scares. It’s all a bit like a ghost train where the carriage rounds a corner, something jumps out, and then the carriage moves on round the corner again! What makes a great horror film is where the “science” of the horror is well thought through. “Alien” was an exceptional example of that, where the science wasn’t just “physics” but also “biology”. Here (and I’m not sure whether this is true to the book… this is one of Stephen King’s I haven’t read) there seems to be no rules involved at all. Things happen fairly randomly: shape-shifting and effects on physical objects happen with no rational explanation; the kids can see things adults can’t see. (Why?). In fact the “adults” – the usual mix of Stephen King dysfunctional small-town crazies – seem to have no significant part in the story at all. It’s all like some lame teenage fantasy where actions (a number of individuals in the story meet their demise) seem to carry no legal consequences whatsoever. I half expected Bill to wake up – Dallas style – at the end and realise it had all been an “awful dream”!
In particular, the denouement is highly dissatisfying. An opportunity for a (very black) twist in the plot is discarded. Pennywise the clown’s departure is both lame and unconvincing. And there are numerous loose ends that are never properly tied down (what was that “floaters descending” dialogue about?…. it was just never followed through!).
It’s not all bad though. The location shoots in Bangor, Maine and the Ontario countryside are all beautifully rendered by cinematographer Chung-hoon Chung (“Stoker”) and where the film clicks with the young cast it clicks well and enjoyably. I just wish that the overall film wasn’t just such a jumbled-up mess. Blame for that must lie with the screenwriting team and director Andy Muschietti (“Mama”). I’m going to give it a kicking in my rating, since with all the marketing build-up it was certainly a disappointment. I see though that at the time of writing that this film sports an unfathomably high imdb rating of 8.0/10 so I’ll acknowledge that somebody must have seen something more in this than I did!!
I had in mind that with the disturbing and dangerous “clowning around” that happened in the summer of 2016 that this film had been shot a while ago and the release delayed until now for fear of adding ‘clown-flavoured fuel’ to the fire. But it appears that filming only completed in September of last year, so that appears not to be the case.
The film starts memorably and brutally with the “drain scene” from the trailer. And very effective it is too. “Great!” you think… this is a spookfest that has legs! Unfortunately, for me at least, it all went downhill from there. The film really doesn’t seem to know WHAT it’s trying to be. There are elements of “Stand By Me”; elements of “Alien”; elements of “The Conjuring”, all thrown into a cinematic blender and pulsed well.
The most endearing aspects of the movie are the interactions of the small-town kids, with this aspect of the film bearing the closest comparison with J.J. Abrams’ “Super 8”. This is carried by the great performances of the young actors involved, with Jaeden Lieberher (so memorable in “Midnight Special”) as Bill; Jeremy Ray Taylor (“Ant Man”) as Ben (‘the chubby one’); and Finn Wolfhard, in his big-screen premiere and sporting an absurd set of glasses, as the wise-cracking Ritchie.
Standout for my though was the then 14-year old Sophia Lillis as Beverly (the nearest equivalent to the Elle Fanning role in “Super 8”). This young lady has SUCH screen presence, reminiscent of Emma Watson in the Harry Potter films. I think she is a name to watch!
While commenting on the acting I do need to acknowledge Bill Skarsgård (“Atomic Blonde” and son of Stellan Skarsgård) who is creepily effective as Pennywise the clown.
Having a film that just centred on the pubescent interplay between the youngsters and their battles against the near-psychopathic school bully Bowers (Nicholas Hamilton, “Captain Fantastic”) would have kept me well-entertained for two hours. However, in the same way that the hugely over-inflated Sci-Fi ending of “Super 8” rather detracted from that film, so the clown-related story popping up all the time just irritated me to distraction. (“WILL YOU JUST FECK OFF AND LEAVE US TO FIND OUT WHO BEVERLY GETS OFF WITH???!!”)
While the film has a number of good jump-scares, a lot of them – especially those with excessive use of CGI – just don’t really work. There are normally no “outcomes” from the scares. It’s all a bit like a ghost train where the carriage rounds a corner, something jumps out, and then the carriage moves on round the corner again! What makes a great horror film is where the “science” of the horror is well thought through. “Alien” was an exceptional example of that, where the science wasn’t just “physics” but also “biology”. Here (and I’m not sure whether this is true to the book… this is one of Stephen King’s I haven’t read) there seems to be no rules involved at all. Things happen fairly randomly: shape-shifting and effects on physical objects happen with no rational explanation; the kids can see things adults can’t see. (Why?). In fact the “adults” – the usual mix of Stephen King dysfunctional small-town crazies – seem to have no significant part in the story at all. It’s all like some lame teenage fantasy where actions (a number of individuals in the story meet their demise) seem to carry no legal consequences whatsoever. I half expected Bill to wake up – Dallas style – at the end and realise it had all been an “awful dream”!
In particular, the denouement is highly dissatisfying. An opportunity for a (very black) twist in the plot is discarded. Pennywise the clown’s departure is both lame and unconvincing. And there are numerous loose ends that are never properly tied down (what was that “floaters descending” dialogue about?…. it was just never followed through!).
It’s not all bad though. The location shoots in Bangor, Maine and the Ontario countryside are all beautifully rendered by cinematographer Chung-hoon Chung (“Stoker”) and where the film clicks with the young cast it clicks well and enjoyably. I just wish that the overall film wasn’t just such a jumbled-up mess. Blame for that must lie with the screenwriting team and director Andy Muschietti (“Mama”). I’m going to give it a kicking in my rating, since with all the marketing build-up it was certainly a disappointment. I see though that at the time of writing that this film sports an unfathomably high imdb rating of 8.0/10 so I’ll acknowledge that somebody must have seen something more in this than I did!!