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If the horror sequences sometimes feel obvious, it’s perhaps because King deliberately leaned on those tropes. Only occasionally does the film struggle to escape the sort of easily-avoidable peril that Scream mocked - as when the gang merrily wander into a haunted house, and are surprised to find it haunted. There’s nothing wrong with a cliché if it’s executed well, and some of the practical effects are executed astonishingly well - most notably, a nuclear-level explosion of blood, acting as a brilliantly unsubtle puberty metaphor.
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Seemingly oblivious to any recent trends in the genre, Muschietti seems content to go with the most straightforward horror tropes, opting for jump scares, whip pans and Psycho strings from composer Benjamin Wallfisch. How scary is It? That depends on your horror threshold. His performance is full of strange nuance and wit, with subtle touches - like a fine trickle of drool hanging forebodingly from his mouth - making this interpretation more fascinatingly entertaining than truly disturbing.
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With his cracked porcelain forehead, mucky Victorian scruff and giant protruding bottom lip, this Pennywise is a triumph of make-up and design as much as anything else – but despite his minimal screen time shared with prosthetic artists and CGI compositors, Skarsgård leaves a hell of an impression. Like the dinosaurs in (, Pennywise is generally used carefully and sparingly, and is all the more powerful for it.
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Just as Tim Curry’s larger-than-life performance anchored the 1990 version, so Bill Skarsgård proves the centrepiece of the 2017 vintage. This is It’s great strength: it wants you to care about these loser kids, invites you to share in their deep angst, and bolsters the facing-your-fears allegory by being, fundamentally, a human drama first and a supernatural horror second. Credit must go to the young cast, among whom there is no single weak link it’s as authentic a portrayal of children staring down the barrel of adolescence as you’re ever likely to see.Ĭrucially, the personal strifes that each of the Losers face, from hypochondriac mothers to sexually abusive fathers, are filmed with just as much menace and horror as the supernatural scenes, and are arguably more disturbing. There’s a lot of exposition to get through, but each of the seven losers gets their due, and the result is a truly well-rounded ensemble, as awkward and romantic as they are foul-mouthed and funny. Which means the kids are important, and Muschietti is patient enough to devote precious screentime establishing each member of the Losers’ Club and their respective dysfunctional lives. (plus, inevitably, Stand By Me - another King adaptation). The result: a coming-of-age yarn not unlike a horror-inflected jumble of The Goonies and E.T. There are deferential little nods here and there - a likeness of Curry’s costume can be glimpsed in one scene, and the iconic opening sequence, with the paper boat of doom, seems nearly identical - but Muschietti’s version feels distinct, discarding the back-and-forth timelines for a straightforwardly linear story (the grown-up portion of the story reserved for a potential sequel), wisely dispensing with the book’s bizarre pre-teen orgy, and shifting things along by 30 years or so, from the original ’50s setting to the more Amblin-esque ’80s. This is emphatically not the Tim Curry-starring made-for-TV adaptation from 1990. The movies, particularly the second one, can become a little bogged down by their own length.It ranks among the better Stephen King adaptations - no small praise indeed. The shorter runtime of the miniseries allows for a faster pace, moving the story along at an exciting pace.
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Depending on the mood, the shorter or longer runtimes can be either a pro or a con. The miniseries itself is easier to binge all in one night, but the two chapters of the movie adaptations take viewers on a deep dive into Derry, Maine lore.
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While it does allow for more world-building and storytelling, parts of IT Chapter 2, especially, can feel a bit bloated. The movies, however, both run rather long separately, with IT Chapter 1 running two hours and 15 minutes long while IT Chapter 2 clocks in at a rather long two hours and 49 minutes, making the total runtime of the two movies combined to over five hours long. The two-part miniseries from 1990 is relatively long, but only clocks in at three hours and 12 minutes altogether, which is a pretty reasonable amount of time to tell the full story.