Insane Clown Posse: Review of It

IT

Director: Andy Muschetti

By Alex Watson

Stephen King has a tendency to disown adaptations of his novels, but there is little doubt that Andy Muschetti's It is one of the stronger ones. Fans are still divided over the hammy miniseries made in 1990 which despite some fine Tim Curry scenery chewing was disappointing. Fear not Pennywise fans, this 2017 version wonderfully captures the dark mystique of a town which is scared stiff. Bill Skarsgard breathes new life in scary clowns and Pennywise is free to haunt us once more. 

In 1989, the town of Derry, Maine has a had a number of children reported missing. A group of seven children including stuttering Bill (Jaeden Lieberher) are haunted by a shape-shifting clown named Pennywise (Bill Skarsgard). All the children are suffering at both the hands of bullies and other curves life has thrown at them. Together they resolve to stop this psychotic menace for good. 

Muschetti seems determined to give It the full big screen treatment and unlike the novel, he has moved the grown up section of the story to its own film. Having a clear focus helps this picture tremendously and heightens the scares these young children face. Beginning with the tragic kidnap of Bill's brother Georgie- Pennywise is a horrifying sight from the very first glace. His whispering voice and mangled Victorian costume would make even the bravest person squirm. Muschetti frequently keeps our nerves jangling and he brings forward the paranoia and terror that fills Derry whenever a new missing child poster goes up. Portrayed as a summer when innocence ends, 

Thankfully we are given sufficient time to get to know our young heroes and the what afflicts them in daily life. Eddie (Jack Dylan Grazer) is browbeaten by his hypochondriac mother, Stan (Wyatt Oleff) is bullied for his Jewish heritage and Beverly (Sophia Lillis) is sexually abused by her father. An added problem rears its head in the shape of sociopathic bully Henry Bowers (Nicholas Hamilton) whose gang rules high school life with an iron fist. These elements are just as haunting as the clown himself and sometimes the scariest onscreen moments comes from moments closer to home. Rather than rushing through, Muschetti invites his audience to get close to these characters. However, Pennywise can sense their fear and their problems make them all the more vulnerable. 

The one vice that hinders It is Muschetti's over-reliance on jump scares. The murky dread that pollutes this picture is uneasy by itself, but despite this Muschetti seems to want to keep the scares coming. When they come, these moments are very well executed. One particularly heart-stopping scare sees Pennywise burst out of a projector screen. Although this is effective in small doses before long this same trick becomes tiring. Despite a couple of slightly dated tricks, this reboot is a fine example of what a Stephen King novel can bring to the screen. A sequel is currently in the development now, the adult actors will have a lot to match up to against these young starlets. 

Bill Skarsgard makes for a terrifying Pennywise and is brilliantly scene stealing throughout. Tim Curry might still win fans hearts, but Skarsgard makes full use of this character. Only used when absolutely needed, Skarsgard always finds new ways to make us twitch in our seats. Credit to the excellent young cast lead by Jaeden Lieberher and Sophia Lillis. Lieberher, in particular, is excellent as the stuttering and emotionally scarred Bill. Affected by the death of his brother, his desire to avenge it makes him the de facto leader of the group. 

In a summer of underwhelming blockbusters, It easily marks itself out from the rest. Be prepared to hear Pennywise's laughter the moment you close your eyes at night.

The Gift: Review of Midnight Special

Midnight Special

Director: Jeff Nichols

By Alex Watson

A thriller in the vein of Steven Spielberg, Jeff Nichols Midnight Special is a sci-fi movie with a heart. A nod to such classics as Close Encounters, this picture is as much about the bond between father and son as it is about supernatural events. Having Michael Shannon once again anchoring his picture gives Nichols a protagonist who is all about survival. What precisely are the abilities of the special child on display? And just how priceless is he to humanity?

Roy Tilden (Michael Shannon) takes his son Alton (Jaeden Lieberher) from a religious cult and goes on the run with cop Lucas (Joel Edgerton). This 8-year has a gift which is not from this earth and both the NSA and FBI are taking a big interest in him. It is clear that Alton has a destiny to fulfil, but what exactly will this involve? Also, when it comes full circle, how will this affect life as we know it?

Smartly in Midnight Special, Nichols limits the amount of backstory we know about the pairing of Roy and Alton and we open with them driving through rural Texas at night. Almost immediately it is made apparent that Alton is no ordinary boy and his glowing eyes behind his blue goggles make us uneasy. The cult seemed to rely heavily on his influence and now federal authorities are wondering how this child got hold of classified coordinates? Early on there is a magnificent sense of unease as the trio have to creep their way through the darkness. One shocking sequence sees Lucas turn on his car lights at the most unfortunate moment which will lead to their cover nearly being blown.

Nichols' picture is more about humanity that the beings above it. Roy's love of his son knows no bounds and frequently he steps in the way of danger to allow their plan to move forward. Lucas makes for a fine conflicted partner who finds himself worrying more about Alton's wellbeing than the plan going well. A former cop, he makes for a smart yet compassionate voice. Adam Driver's NSA analyst Paul Servier also comes off well as he is the only agent to see past the big opportunity presented. The boy and his abilities are seen as having great benefit to the nation, what makes this all the more unnerving is we are not sure precisely how dangerous they are?

Frequently we are given short bursts of stunning visual effects such as Alton pulling down a government satellite from the sky. As the pieces rain down in a meteor storm upon a gas station, this provides a big jump. At the anticipated finale, the dazzling visual effects are almost second to the love and compassion on display. All the way through Midnight Special the main theme has been parents love for their child and Nichols makes sure this isn't a point that is missed. There are no big speeches or reaffirming of love, the pained and longing expressions say far more.

Michael Shannon gives an impassioned turn as father Roy and gives the movie its emotional cell. Always a great presence in movies, Shannon is a tough yet gentle soul who will protect Alton until his dying breath. Fast becoming one of this centuries most watchable talents, Shannon is on great form here. Joel Edgerton refuses to be upstaged and gives a turn that matches his co-star, Lucas is a man who lives by a strict moral code but doesn't flinch when asked to go above it. Edgerton is both the movies muscle and its voice of reason. Kirsten Dunst however, is stranded in an underdeveloped role as Alton's mother. After delighting us in St Vincent, Jaeden Lieberher is once again excellent and is becoming another youth talent to watch.

Midnight Special may just be the dark horse of 2016 and this is a movie with a brain and a soul. Prepare to ask yourself some big question about what lies beyond the stars as you exit.

This Charming Man: Review of St Vincent

St Vincent

Director: Theodore Melfi

By Alex Watson

Bill Murray is undoubtedly a favourite of many movie lovers and it is always easy to see why! His easy going charm and natural comedic talents succeed in raising potentially unlike-able characters to a level that is hilarious. After winning over audiences at TIFF (where it gained runner up in the People's Choice Award), his latest film, St Vincent could well see him turn on his finest performances in years gone by. Prepare for immense cursing, drinking and visits from a 'Lady of the Night'.

Vincent MacKenna (Bill Murray) is a broke, foul mouthed, gambling, heavy drinking old man who hates everything and everyone around him (a compliment that is swiftly repaid). But when his new neighbour Maggie (Melissa McCarthy) moves in, he is forced to bond with her shy young son Oliver (Jaeden Lieberher). Together the pair begin to change to each other in different ways, but not all them good ones.

St Vincent is certain to delight lovers of Bill Murray cinema, because first time writer- director Theodore Melfi's film is a wonderfully unorthodox and shocking laugh fest which is impossible to dislike. The most impressive quality to this film, is just how lovable Vincent is even in spite of his numerous flaws. From the moment we meet him, he  drunkenly runs over his own fence, then moments later he falls over and passes out. The next day he then hilariously accuses his newly arrived neighbour of doing the deed!

There is no doubt over what a bad influence Vincent is on all who meet him. Maggie reluctantly leaves her son Oliver in his care despite her major concerns. His idea of bonding constitutes going to horse races and him meeting Russian hooker Daka (Naomi Watts). But in the fact of what could have been a scaring encounter, Vincent begins teaching Oliver life lessons that broaden his character and make him a tougher person. When asked to do a school project about Saints- he begins learn that Saints do live among us in the world, just sometimes you have to look beyond the layers of rubble!

But unusually for a first time film maker, Theodore Melfi brings a highly accomplished feel to St Vincent. Alongside the laughs is a dominant emotional core as Vincent's true life intentions are revealed. Throughout, this man is at other end of the financial spectrum and is always hustling to make bucks wherever he can! However, witnessing him care for his sick wife strikes a cord hard and suddenly his money making schemes become less dubious. At heart Vincent is a good man with honest intentions, he is just to lost inside himself to notice.

Only Bill Murray could have played Vincent and he effortlessly brings this cantankerous old man to life! Melfi has written the character that Murray fans have been waiting for and thanks to his physical comedy, he reminds just how funny he can be. He may notoriously selective and is known for not being the easiest star to reach- but when Bill believes in your project then he will give things his all and it shows in his performance here.

Jaeden Lieberher makes for a great new star and alongside Murray, the pair share a great chemistry that makes the film tick. His character throughout is one that is drawn to the risk that Vincent poses and Lieberher raises his game in the films latter stages to give a performance that rivals Murray's. Melissa McCarthy is given an almost straight role by her standards but impressives nonetheless in the less wacky role. Her worried face throughout is rightly justified and you can't help but share her fears over what will come next?

St Vincent is one the most original yet heart tugging comedies of this year and Bill Murray fans will no doubt go away feeling delighted. The man may not always grace our screens, but we are always delighted when he does!