My opinion about It Chapter Two |
It Chapter Two could not escape one of the most common trends of the great contemporary Hollywood productions: everything in the film is multiplied by ten in relation to the first part, which in 2017 became one of the highest earnings of the global genre . Some aspects are well managed, such as evolution in the psychology of the protagonists, but other elements escape from the hands of director Andy Muschietti, who confuses noise with substance and gets lost in a sea of influences that overshadow his work, changing personality who managed to impress him in the first film.
However, it is enjoyed enough because the aspects that work succeed in maintaining a certain narrative coherence. Bill Skarsgård retains his playful and evil nature, which makes him uncomfortable as he moves from one state to another, as if someone is turning the knob of his evil from zero to a hundred in less than a second. Its effect remains short-lived, but very effective because Skarsgård gives himself devotion to the whole figure of Pennywise, just as when he runs the risk of being absurd as when he is really frightening, and the physical details of his own role continue to the nervousness of when one sees You something bordering on the unnatural, but not so much to look away.
The adult cast of the Losers Club is equally successful, especially Bill Hader who plays Richie Tozer and James Ransone who plays Eddie Kaspbrak. The first brings his strength as a comedian to the table, and the second a vulnerable and frightening appearance that he knows how to control, and both stand out above the rest because they handle the personality they touch well. James McAvoy and Jessica Chastainthey are the names most recognizable, with adults Bill Denbrough and Beverly Mash. In the first film, Bill was the focus of the group because it's all about his quest, but in this story he completely loses his leading quality and feels more lost, even though McAvoy is exemplary on paper. Beverly told him the most tragic and intricate story because his adolescent suffering was the most intricate, and Chastain manages to portray the complexity with tangible nuances.
Both Jay Ryan, who plays Ben Hanscom, and Isaiah Mustafa, who plays Mike Hanlon, fulfill their roles as an extension of their teenage characters. It does not feel like they exist outside of these movies, but if they work, that's enough. Mike's character is still the most confusing, as in the first film, where he is almost portrayed as an extra crazy creature. In Stephen King's book, he was most interested in Derry's history, and he insisted on knowing the strangest details of the city in depth. In this sequel, his obsession with the Pennywise story leaves him more like an insane person than someone who does journalistic work, and he may even be a different character than he was in his teens.
However, it was he who revealed to the group the way to beat Pennywise: the Chüd Ritual, which he learned from an indigenous people who already had the purest form of the clown. The expansion of the mythology is fascinating as well as problematic, as it changes the mystique of the "monster" by adding details about its origin. This origin is extraordinarily interesting, as something could only come from the thoughts of Stephen King, but it does not work so much in the film, as it expands the story and reduces the evil of Pennywise to describe something more, although the issue of how it is still relevant. it feeds the most distorted toxicity in humans. The film begins with the murder of a gay couple (played by Xavier Dolan and Taylor Frey) by a pair of homophobes, who thus succeed in feeding the clown so well that his revival is official.
The development of the plot occurs in numerous sets that are separately effective but do not communicate with each other because they are repetitive and easily lose power as a whole. As Mike reveals the Chüd Ritual to them, he sends each one to find a piece related to their past, which they have to search for without company (it has no explanation, and only serves to separate them and create isolated situations ) and return to their face own forgotten fears. This is where Gary Dauberman's screenplay It's Too Much for More than Muschietti makes the best use of the mixture of fantasy and terror, with all sorts of strange creatures scaring children and adults while connecting the missing points of their own lives. After two or three similar scenes, everything feels basic and worn and it just remains the creativity of the individual sets.
The problems are highlighted with a montage that never thinks of situations that should be scary, because the film cuts its inspired moments
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