Director Andy Muschietti definitely delivered on the promise he made with It: Chapter One. From its powerful opening moments through to its end, the story drives relentlessly and wraps up the Derry saga.
Part of the strong showing of this story is the brilliant ensemble, which is perfectly balanced to keep any one character from dominating. And the casting choices to help bridge the 27 year gap was mostly dead on. In fact, it is so nicely seamless, I don’t see a need to call out anyone individually.
This was always going to be the harder of the two parts of the tale to tell. For starters, the adults are more complex characteres, complicated by age and amnesia. Gary Dauberman (The Nun) made some interesting choices in his adaptation. Some of them were clever and interesting, and others were baffling. In particular, there are catch phrases (“dead lights,” “beep, beep”) that didn’t show up in the first part, but that play in the second. Also, while the opening of this movie sets up the horror and mood, it isn’t particularly well used in the end. I understand the purpose, but also wonder at some of the choices which were made to set the movie apart from the book. And it seems like there are some timeline challenges as well if you look too closely.
I did indeed rewatch It (Chapter One) before heading to this resolution. I probably didn’t need to as the film does a good job of reminding you of the parts you need to recall. It also spends time in the past as the Losers recover their memories.
If you enjoyed the first movie and like the book, you will enjoy the second movie. But you can’t rightly call it a sequel because the stories just don’t mean much separately, and there is a beauty to seeing them in close proximity. This does include a challenge for the audience, as you have to be willing to understand the characters as adults and let go of their childhood. That is one of the best aspects of the classic novel, but some folks may find it hard to let go of the simple innocence of the children for the more nuanced adults. When the film is looking at those more adult problems, it is frankly at its best…better even than the many shocking scares, which will make you jump, but which are just variations on what we’ve all seen before.
At nearly 3 hours, the movie is quite the investment in time, but I never found myself bored and am glad I saw it on big screen, where Muschietti’s efforts and eye are very much on display. And in Dolby, the subsonics will shake the heck out of your seat. Obviously, this isn’t a stand-alone flick, so don’t jump into it here, see the first part…well, first. As a whole, it is quite the exercise in adaptation. Sure, I have issues with aspects of the results and choices, but it is still quite the achievement to make it float (sorry) for the 5.5 hour total screen time.