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Also a fitting name for a fledgling high school punk band.
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Sep 2, 2017 19:16
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I would expect it would just be IT: Part II. The nerd side of me wants it to be IT: Ritual, after the Ritual Of Chud.
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Sep 2, 2017 20:16
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That, and the fact that the adult portion of the story has a very different kind of momentum, with more grounded threats like Bev's husband being thrown into the mix. It's been awhile since I've read the book, but I remember the supernatural elements being somewhat more reserved. Other than the dinner scene and when Bev goes back home, there aren't many other "set piece" moments until the end, right?
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Sep 2, 2017 20:27
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Maybe my recollection is blurring things together. The book isn't really divided in half, but intermingles the childhood and adult sections throughout.
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Sep 2, 2017 20:45
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I've been rereading the book in preparation for the movie, as it's been a couple of years since my last go-around and a question popped into my head: does anybody know the reason behind Pennywise taking the name "Bob Gray" as an alias? I get It disguising itself as a clown to lure in children, but by adopting a "real" name for that form, there's a weird implication that It like, maybe based Pennywise on someone It had previously encountered? Like was Bob Gray a "real" person in Derry that It assumed the identity of or something? I know it's most likely just an eloquent bit of flavor-weirdness on King's part, but it's kind of a weird bit to drop into It's character.
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Sep 5, 2017 20:21
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It's unique in that for a lot of people in my age group (early-mid 30's), the original TV movie was an indelible media touchstone of our childhood. So there's a built in nostalgia draw, on top of people who are fans of the book, on top of a strong marketing push for those who aren't either. It casts a much wider awareness net than a new, original horror release might. And I don't mean that in a bad or cynical way.
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Sep 6, 2017 01:59
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Das Boo posted:THIS CLOWN NEEDS TO STOP TALKING ABOUT PENISES. But enough about why I'm banned from Denny's.
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Sep 6, 2017 04:23
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Kevyn posted:I'm intrigued by how much of Derry is actually Bangor and I want to know more. Like do the Barrens exist? I see a wooded area on Google Earth where they should be but it's hard to tell if it's big enough or if the geography is suitable for walking around and doing the stuff the kids do in the book. This is a pretty cool article about a Stephen King tour that is held in Bangor, which the writer was invited to as part of a Dark Tower promotion. Some of the stops are places that directly influenced King's writing, like the standpipe and Chinese restaurant in It, which is pretty cool. It doesn't look like it's a direct 1-1 interpretation of Bangor, but there's a lot of Bangor in Derry.
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Sep 6, 2017 05:30
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Yikes, all of the stuff with Bev, especially the ending. That is some bonkers-rear end off-mark stuff. I won't be able to see the film until sometime next week, and I'm still super hype about checking it out, but that's the kind of easy-to-avoid stumbling that seems to be the most annoying part of so many so-close-to-perfect adaptions. Also regarding Al Marsh: there's a whole bit in the book about him ranting about checking to see if she's "intact" when It takes his form, but I can't remember if that's projection on Bev's part, or a reveal of actual events. Tart Kitty fucked around with this message at 14:16 on Sep 7, 2017 |
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Sep 7, 2017 14:12
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ImpAtom posted:To be fair King has actually hinted at a followup to It. The Losers appear in some of his other books (most recently his JFK assassination one where Richie and Bev make a fairly significant appearance) and scattered throughout his books are hints that It has survived, things like "Pennywise Lives" graffiti. I don't know if he'll pull the switch but he did make a sequel to The Shining so... God, I hope not. Dr. Sleep was butt. And has one of the greatest missed opportunities in his writing career: at the end of the novel Danny Torrence frees one of the old ghosts from The Shining to help him take out the Big Baddie. There's this huge build up to what the ghost is going to be.. and it's Horace Derwent, proprietor of The Overlook. Which is super lame because pulling the monstrous, shadow version of his father swinging the roque mallet to do the deed was right there, and would have tied a nice bow on the two stories.. I'm actually reading 11/22/63, and I highly recommend it as a follow-up to IT. In addition to some of the Losers showing up in person, the main character spends a bit of time in Derry and describes in great detail how darkly menacing it is. He even passes by the fence that Henry Bowers and Ben tumble through, which hasn't been mended as his arrival occurs shortly after the end of the first part of IT. Pretty cool.
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Sep 11, 2017 17:28
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Tom Guycot posted:Thats my favorite book of his I've read in a long time, what it covers, where it ends up, just a wonderful book to me. Wholeheartedly agree. I'm not finished just yet, but so far it stands shoulder-to-shoulder with his best work.
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Sep 11, 2017 17:58
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Between IT and the success of Deadpool last year, hopefully studios will get hip to the fact that R-rated movies can make serious bank at the box office if they have strong creative teams behind them and prove worthy of the audience's dollar.
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Sep 11, 2017 19:20
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The cleaning scene is also from the book. Only the Losers can see the blood, and Bev feels like she would go crazy having to just, like, exist in it, so she asks the others to help her out with cleaning it up. It's not a party, but it shows true remarkable resiliency of kids in the face of incomprehensible events.
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Sep 11, 2017 20:23
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Not debating that. Just providing context.
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Sep 11, 2017 20:41
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ImpAtom posted:murdermolestoclown Coming soon from Robert Rodriguez...
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Sep 13, 2017 22:31
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BiggerBoat posted:Hm.... Hello, fellow Graphic Design loser. I agree with everything BiggerBoat said. Rendering off of a still is a bit of a tightrope in terms of how much detail to include. I think you have too much here in this case; it gives it a kind of fuzzy appearance that looks like a photo pushed through 16-bit rendering. Take out some of the gradients and make the colors and levels more absolute, and I think it'll really pop. Especially if you punch up the yellow in the eyes. Tart Kitty fucked around with this message at 02:39 on Sep 15, 2017 |
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Sep 15, 2017 02:35
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I'm telling you right now: if somebody put out a t-shirt of Pennywise's face in the vein of The Misfits' crimson ghost skull, using only black, white, and red in the palette, they would make a stupid amount of money. LOOKIN AT YOU, HOT TOPIC. YOU DICKS.
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Sep 15, 2017 02:52
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CelticPredator posted:This isnt a puppet. That's a real person. Same dude who plays the leper, actually. He has marfan's syndrome, which affects the connective tissue in the body, creating an unnaturally elongated appearance, and increase in the bending ratio of joints. EDIT: beaten
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Sep 17, 2017 23:58
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So I was out of town last week, which meant that I had to wait until today to catch the flick. Just got back about an hour ago. Here are my thoughts: Liked: - The casting was phenomenally well done across the board, without a weak link amongst the actors. It's pretty clear Sophia Lillis is going to have a big career. She has a great screen presence. But for me, the MVP of the Losers was Jack Glazer. His foul-mouthed-yet-studious interpretation of Eddie doesn't quite line up with the wet blanket from the books, but I'd argue it's one of those rare cases where an adapted character actually shows improvements over the source material. This version of Eddie makes sense in the Losers. - I had some major concerns with the direction they were going with for Pennywise early on in the film's production, but they nailed it. This version is very different from Tim Curry's interpretation, but that's not a bad thing. This Pennywise felt much more alien and otherworldly, with all of the work done with his eyes and marionette movement, really reinforcing the idea that IT is something very much not human. - Derry was fantastically realized. I hope they follow the narrative of the book on its fate, because I would love to see it get torn asunder. I especially appreciated that they gave the town a light sense of established geography. - The Georgie/Pennywise scene is loving perfect. I was surprised that they went there with the damage inflicted on Georgie, but it was a great way to set up real stakes. It's basically the movie kicking down the door and screaming "FORGET ABOUT HARRY ANDERSON" in your face. - GIANT IT. - The first Neibolt Street sequence is a really great set piece with a lot of rapid fire scares. Pennywise's weird lurch-walk towards Eddie, the clown room, the three doors gag. I would argue it's the most well-oiled part of the entire movie besides the intro. - I was a little worried when I heard about the beat-down at the end of the film, but in practice I actually dug it quite a bit. If nothing else, it was satisfyingly cathartic. - The movie is loving BONKERS beautiful. - "Now I gotta kill this fuckin' clown" might be my favorite line of dialogue from any movie this year so far. Disliked: - Holy lord did they turbofuck Henry Bowers and Mike. Despite strong casting for both, the characters are just the on-screen equivalent of raising your hand for attendance. Bowers is horribly neutered by his slap-dash narrative, with the audience never really knowing basic things like why he has it in for Ben in the movie. His escalation of violence seems random at best, and his fate (being kicked down the well) sets up some serious problems for the sequel. Likewise, Mike just vanishes for, what, like thirty minutes of the movie? Yikes. - On that note, there's absolutely no reason for Ben to be the town historian. Not only was the dialogue regarding why he was doing the research clunky, the narrative payoff for the character itself is pretty much nil. Having him just be the new kid is characterization enough here. That history stuff really should have gone to Mike. Not just because of where the character ends up in the second half, but because his home-schooled background would actually give a NATURAL REASON for him to stumble across Derry's hosed up history outside of a controlled classroom setting. - The Tower Of Power and the floating kids was... I don't know. It was an okay visual, but it raises so many more questions than it answers. If those bodies were actually there, and not just like some kind of magical manifestation, did they all wash out of the sewers at once? Are they still down there? - The placebo reveal of Eddie's medication felt unearned. In the book he's pretty much crippled by his various "illnesses". Here, it's treated more as a character quirk. Which, like, that's fine if you're gonna go that route. But again, bringing up the placebo thing brings up more questions than answers because of the structure of the movie. We don't really get that much of a vibe from his mother. If you're going with the placebo subplot, they should have set her up as far more domineering in her first scene to better build that character dynamic. And what in the holy hell was up with that fat suit? - What a weird choice to ice Victor Criss and Belch off-screen. The bullies getting torn apart in the sewers is classic Stephen King disaster porn, and it would have added, what, five minutes to the runtime to have them get killed chasing the Losers? But alas, their fate is tied to the mishandling of Bowers, which is a house of cards type deal. - I got a lot of different feelings about the damseling of Bev. On one hand, it makes sense narratively in that she's established to be the strongest of the Losers, and by taking her out of the picture, IT makes them all collectively weaker. And she does get to lay in some damage during the scuffle at the end. But my biggest problem with her capture is the way the deadlights are treated. Tom Rogan basically has a super aneurism when he sees them. Audra is only broken out of her coma at the end of the novel, and it's a biiiig scene. Setting up the deadlights, only to have them be countered by a kiss felt... defanging? It's gonna be a whole lot less HOLY poo poo when Audra gets blasted with them in the second chapter now. Despite my nitpicks, I do want to reinforce that I really did like the movie a lot. As a lifelong Stephen King fan, it was kind of incredible thing to sit there and see the essence of a book I've read countless times get so perfectly translated to screen in so many ways. I'll definitely see it again before it hits theaters, and it's an easy recommend for me to anyone who wants to have a fun night at the cinema. Speaking of which, I went to see this at three o'clock on a Sunday, and the theater was pretty much sold-out. I'm thinking the Pennywise Express money train won't be stopping any time soon.
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Sep 18, 2017 00:50
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Yeah, IT definitely falls into the "crowd pleaser" camp of horror, as opposed to being truly disturbing, which I'm totes fine with. The biggest pop of the showing I was at came from the slideshow scene, which elicited quite a few shrieks from the crowd, closely followed by a lot of good-natured laughter.
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Sep 19, 2017 00:17
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Why is there a delineation made between the book and its filmed adaption? If anything, the book is even more graphic, as Georgie is discovered by a passerby and it goes into great detail about the polished white knob of bone sticking out of his shoulder, and water pooling into his open dead eyes. The horrible violence inflicted on children in IT is a deliberate choice by Stephen King, and by extension Andy Muschietti. It's taboo and it's disturbing, and that's what makes it fertile ground for a horror story. Whether that also makes said story vulgar or exploitive is up to individual interpretation, but it can't be denied that it's in the DNA of the material, and therefore shouldn't be surprising that it shows up in the film.
Tart Kitty fucked around with this message at 05:54 on Sep 19, 2017 |
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Sep 19, 2017 05:50
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Shimrra Jamaane posted:Who knew a kid getting crushed by a steam roller could be so funny. There's a behind-the-scenes story about it that is pretty funny. Originally the effects gag was planned to be more subtle, with just a little bit of blood smearing on the roller. But one of the effects technicians overloaded the blood bag, which pretty much caused the kid to appear to explode. King basically shrugged and was like, "gently caress it, chalk that one up to a happy accident."
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Sep 19, 2017 16:41
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I sat next to a girl who was maybe fourteen years old, with her mother in the next seat down. After every big scare the mother would lean over and whisper "You okay?". I wanted to roll my eyes at the bad parenting, but then I remembered my own dad taking me to see Total Recall in theaters when I was five, and drunkenly yelling out "WHAT THE poo poo" during Quatto's first appearance as I watched through my fingers.
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Sep 19, 2017 23:15
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joylessdivision posted:I feel like that's the nice story he tells to cover that he was coked out of his mind and probably added the extra blood himself. Hell, considering it was prime-era Stephen CoKing, there's a good chance he was off-camera, firing bloodbags at the cast with a t-shirt cannon.
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Sep 20, 2017 00:47
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WattsvilleBlues posted:I thought Jonathan Brandis was a better Bill. Such a shame about the guy. Jonathan Brandis was one of those dudes that I felt like would have had a pretty good chance of showing up as a supporting character in some rando Tarantino flick, and getting enough juice from it to have a bit of a second-stage career.
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Sep 20, 2017 05:31
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SimonCat posted:If we'd seen Pennywise killing other people in a manner as graphic as the way he killed George, it would have worked. As it is, the scene sticks out as the movie using the equivalent of smashing a kitten with a hammer to generate an emotional response. See, this is interesting to me, because I've seen it brought up a couple of times from different people. I wonder how differently people would have responded to that scene if there were other equally violent acts in the latter half to balance things out more. What's weird is that the book has a built-in excuse to do just that with the deaths of Belch Huggins and Victor Criss (and Patrick Hockstetter earlier on) at the hands of IT, but the film chose to forego those opportunities to streamline Henry Bowers' already barely-there narrative.
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Sep 20, 2017 05:41
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I don't mean this in a negative way at all, but although I don't always agree with SuperMechaGodzilla, as an English/creative writing major in college, I appreciate his posts because it reminds me a lot of the kinds of bonkers, out-of-the-box conversations that would pop up a lot during workshopping.
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Sep 23, 2017 03:26
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Magic Hate Ball posted:Naw this Pennywise definitely suffers from pride. So did the book version. There's a whole chapter from IT's perspective as it reflects in disbelief at being beaten by the childhood Losers, and how much IT was intending to make them pay for that gross insult. Penny wise/It is an apex predator that never felt threatened by anything, so it's utter shock at being one-upped definitely solidifies into some actual motivation on its part beyond just needing to feed in the second half. Despite being an extradimensional clowncrab, it definitely approaches the adult Losers with a personal vendetta.
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Sep 24, 2017 04:01
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Went to see the flick again this weekend with a buddy who hadn't seen it yet. It was still a blast the second time around, though the repetitive nature of the "thing rushes at screen" scare does become a bit more obvious. The opening, projector scene, and first trip to Niebolt still play as well as the first time though. I think one of my stealth favorite parts is at the end when Eddie gets gooped on by Leperwise, takes a second beat to react, and just screams out a body-shaking "I'M GONNA FUCKIN KILL YOU!" It's such a great delivery. That kid seriously is the MVP of the movie in my opinion.
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Sep 25, 2017 15:11
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King, for better or worse, tends to write with his heart on his sleeve. It's one of the reasons why so many of his books feature the same saccharine "group of friends rally together to defeat evil through the power of love" trope. As eye-rolling as it can be, he legit buys into it. I don't think the man has ever really written something just to make a paycheck, and that earnest love for his work can be a double-edged sword. It can make him too precious to separate the good from the bad. In the case of The Shining, so much of the book is autobiographical, it's not hard to see why he would take offense to Jack being painted as an outright monster. As for his praise for The Dark Tower, well, I honestly think that was just a bit of self-fanboyism on his part.
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Sep 26, 2017 16:38
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Looten Plunder posted:I'm not super well versed in King, but what are some other examples of this? As for an anthology, nobody really knows exactly what Hulu's Castle Rock project is going to be, but it's supposed to be a sort of Stephen King Extended Universe thing. I'd be surprised if some of his short stories aren't pulled in.
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Sep 27, 2017 14:00
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The whole IT/Turtle dynamic was given a little more context in The Dark Tower, albeit indirectly. There's a thing in King's "macroverse" called Todash Darkness, which is like a big, empty void where all of his weird-rear end Lovecraftian beasts come from. It's implied that the creatures from The Mist are from Todash Darkness, for example. Anyway, the whole point is that the poo poo that comes from there is A: bad, and B: usually utterly incomprehensible. Pennywise would certainly fit that description. The "eggs" it carries is just another example for the kind of dream logic that is associated with creatures from that place. And while Pennywise and Dandelo from The Dark Tower might not be of a "species" as we define it, there's certainly a strong implication that they are cut from the same Todash cloth.
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Sep 28, 2017 15:23
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Tom Guycot posted:I always got the impression from the book that its children were also it, not exactly separate entities. In the book IT has 2 forms, a form thats manifested in our reality, which is just a physical extension of it's true form in the macroverse, and its natural state outside our dimentions where it was described as living light beyond any communication or understanding. What we saw in our world, the giant spider wasn't really what it looked like, just what our mind sort of twisted an interpretation into, yet they were linked. While it had a physical form, hurting that hurt its immortal form tied to it in the macroverse. From this, I always saw it's "children" as just a manifestation of the deadlights true form expanding itself, which gets represented in our physical universe as reproduction, yet each of those children would still just be same entity, tied to the deadlights, not exactly discrete different creatures. Yeah, this is my read as well. As I mentioned in my post above about Todash Darkness, It is very much a traditional Lovecraftian Horror in that nothing about it truly makes sense or is explained, which adds to the horrific nature of it. Just as It is described as looking like a spider because "that's as close as the mind could make sense of it," the babies likely don't exist in a way that we fundamentally understand. It is so utterly alien that they could be anything. The only true understanding that Bill, Ben, and Richie have when they discover them is that if they are left to grow they will spread It's corruption and continue the cycle. It's never explicitly stated that the fear comes from It reproducing, but rather resuming its reign of terror.
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Sep 29, 2017 02:06
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SMG's posts are infinitely more enjoyable to read if you imagine them narrated by Werner Herzog. That is not an insult.
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Oct 3, 2017 16:59
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the popular kids posted:Somebody earlier in the thread mentioned that someone should do a version of Pennywise but as the Crimson Ghost. Well I didn't do exactly that but it was a fun design. I'll probably tweak it some more. Hey, that was me! Well done, man. Awesome work.
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Oct 3, 2017 23:12
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BOYS GET THE CAR.
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Oct 10, 2017 17:55
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I liked the movie quite a bit. Saw it twice in theaters. That being said, I was pretty disappointed with the leper's design. From the description in the book I always imagined something closer to Emil after he gets melted by the toxic waste in Robocop. What showed up in the movie itself was almost, I don't know, cartoony? Absurd? It felt like kind of a missed opportunity.
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Nov 3, 2017 15:41
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Basebf555 posted:I think the reason that scare worked so well is because I was expecting like his head to come out of the screen ala The Ring, but then this gigantic monstrosity all of the sudden juts out and I was not prepared for it. It’s also got some great foley work when he’s slamming around in the dark between each slide. That scene was definitely the one that popped the theater audience the most, both times I saw it.
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Jan 10, 2018 16:48
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In the book Bill’s parents basically become the walking dead after Georgie dies. There’s some suggestion of 60’s era undiagnosed housewife depression as well. I never really thought about it, but you only ever see Bill’s mom in the beginning. You see his dad after Georgie dies, but the mom doesn’t make a reappearance until the slideshow. I suppose it could be argued that just as how It has corrupted the rest of Derry, it’s bent the parents as well. I mean you literally have Pennywise’s face being revealed from underneath the obscuring wave is the mom’s hair.
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Jan 10, 2018 21:09
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To anyone who suggests that a Stephen King story can be translated effectively to television, I present both Under The Dome and The Mist. Conceptually, both should have been home runs. But the ability to breathe too much robs his work of its immediacy. The first half of IT takes place across handful of weeks, or months at best. The second half takes place across days. The second you throw that poo poo to AMC or FX, they want seven seasons and you start to sweat on how to expand.
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Jan 20, 2018 06:02
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