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It movie with Bill Skarsgård & Jaeden Martell – critic

It movie

Ultra expected since the announcement of its start, over hyped in every detail of its intentions and its shooting, classification considered hardcore, anticipated celebration of a return to the roots of horror, It movie was the bearer of fantasies the craziest, at least as much as the vector of the most abominable fears relating to the desecration of classics, literary or filmed.
His performances at the US box office at least confirmed the feverish expectation, failing the supposed artistic quality. Andrès Muschietti, he had all the same, it must be admitted, everything to prove. Especially after an endearing Mama but a little wobbly, crossed by certain flashes but also feeling the artificial filling of an original short film.

It movie critic

The verdict will therefore be a little nuanced. Because It movie is quite effective, obviously. But It movie may not go through with its initial intentions. The film is quite nice to follow, offers a few moments of funk very well put together. But he certainly suffers from not completely breaking with the genre in what he has most current, in what he has manias, sometimes dispensable or a little silly staging tics.

Thus, the scene with Georgie is gripping, both as a tribute to the TV movie and in its intention to offer the 2017 audience something darker, more graphic, more tense. And Muschietti succeeds, without a doubt. But he will have just before boxed the ultra expected and predictable scene of descent into the cellar, launched like a bait. Where we know full well that nothing will happen, but in which the production will try to scare cheap, with wooden sculptures or eyes that stand out in the darkness. Such a sequence would almost be of a nature to somewhat deny the note of intention.

However, Gripsou’s first appearances prove to be ultra effective and reassuring, while the tension sets in rather insidiously. And we think It movie is moving on the right track. For a long time, even if its rhythm is somewhat jerky, the fault of the script structure adopted in the form of end to end presenting the situation of each of the children, in turn.
Muschietti seems to hold the bar, until the viewer notices, as the film unfolds, that It movie insidiously transforms, like his clown, into a sort of horror fun fair, investigating the shocking sequences at a frantic pace, and multiplying its figure of evil to the overdose, in every way, in each of its changes of form.

If It movie takes advantage of its special effects to fuel the spectacular and the terror, it also shoots itself in the foot, as the horror becomes extremely common, even banal, literally numbing whoever has paid for it. It movie becomes a very well-oiled wrinkle, certainly spectacular on many occasions, but the surprise of which at each appearance of its clown inexorably withers, as in new generation horror films which launch all at once. blow their sleeve effects to the spectator’s head without giving it much thought. And in a thunderous music that sounds long before the horror effect, as if to prepare the audience for it and tell them what to feel. It will therefore not be forbidden to think that we are a little far from the revival of the old school genre promised in this matter, even if Muschietti is very generous in graphic and artistic matters.

But the spectator of It movie, if he can legitimately be disappointed in this aspect, will note that the film succeeds in the end where we least expected it, ie in its intimacy and its painting of traumatized childhood. Relocated at the end of the 80s, this painting is surprisingly correct, as a work like Super 8 could have done, in the form of homage or plagiarism. The group dynamics that are described are alive and sharply staged.

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Every child is great. Fears, on the other hand, are among the most successful scenes. They are the witnesses of the true parental absence, in the form of resignation, castration and other abuses, while symbolizing the pains of the difficult passage towards adulthood, mixed with a budding and touching amorous stir. Finally, they do not spare the little heroes of this adventure, confronting them more than once with fairly frontal violence, physical or psychological, linked to guilt. Too bad only that certain humorous effects are a little too strong, even a little embarrassing at times.

It movie is therefore of good quality, it is the least that one could expect from it. It movie keeps some of its promises. But not all of them. Handicapped by specifications geared towards this current youth and from which he cannot (or wants) to completely free himself, he proves to be of a certain efficiency, but in the form of overflow. It will therefore not constitute the peak of horror expected. Simply a pleasant work, in the form of a wrinkle that stands out from the original book that it adapts.


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