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‘Batman and Harley Quinn’ Isn’t The DCAU Return You Might Have Hoped For

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For many Batman fans, especially those that came of age in the 90s, no Batman media can top the 1990s animated series. Released to coincide with Tim Burton’s Batman Returns, Batman: The Animated Series quickly became much more than an animated tie-in to the film franchise, drawing attention for its eye-catching art deco aesthetics and top-notch writing work. Thanks to series masterminds Paul Dini, Bruce Timm, Andrea Romano, and countless others, Batman: The Animated Series became one of the most influential pieces of Batman media ever, reinventing characters for a new generation of fans and introducing figures who would become staples of the Bat-mythos, the most notable example being Harley Quinn. The series would later spawn multiple spinoffs, giving rise to a shared animated universe often referred to as the “Timm-verse,” or the DC Animated Universe. To call it beloved is underselling it a bit. For many (this writer included) this iteration of Batman is the defining one, the one against which all others are measured.

The DCAU has been dormant since the conclusion of Justice League Unlimited, the last full series to be set within the shared-continuity universe that began back in 1992, but DCAU fans got a surprise when it was announced that the latest in WB’s series of direct-to-video features would be set within the DCAU timeline, complete with its signature art style and Bruce Timm co-writing the script. Kevin Conroy and Loren Lester would reprise their roles as Batman and Nightwing, joined by a few new voices behind old characters, but sadly for DCAU diehards, the result isn’t quite what we hoped it would be. Batman and Harley Quinn is fun, sure. Clocking in at a brisk hour and fifteen minutes, it’s an amusing distraction dipped in a coating of nostalgia, but anyone looking for a return of the DCAU’s clever writing and rich atmosphere will find themselves dissatisfied with the film.

Batman and Harley Quinn

The adventure kicks off when Poison Ivy resurfaces with a new partner in crime, fellow plant-based supervillian The Floronic Man, and a plan to transform every lifeform on earth into a plant-based organism. Lacking any solid leads on the pair’s whereabouts, Batman and Nightwing start tracking down Ivy’s former associates, starting with Harley Quinn. From this slightly flimsy setup, the film springboards into the same kind of Batman/Harley story that drove a few classic BTAS episodes: Harley makes jokes and Batman glowers, leaving Nightwing to laugh awkwardly from his place in between. And….that’s it. Rather than plumb the depths of the characters and liberally mix comic book action with character study, Batman and Harley Quinn is content to keep things light and fluffy, playing contentedly in the shallow end of the pool.

What this means for your enjoyment of the film will be determined by your expectations going in. If you’re a hardcore BTAS and Timm-verse fanboy who lovingly gazes upon your expensive box whenever the opportunity presents itself, this new entry in the canon may have you bored, disappointed, or downright angry. It takes an excessively light tone, sometimes more reminiscent of the Adam West (RIP) Batman series, though quizzically it also makes full use of a PG-13 rating with some blood, death, cursing and implied sex. PG-13 hijinx aside, Batman and Harley Quinn is only “mature” in the loosest sense though, as the film plays it very, very safe. The jokes come fast and quick, and the interesting character explorations of classic BTAS episodes are left back in the 90s.

Batman and Harley Quinn

None of this makes Batman and Harley Quinn bad — just on a very different wavelength than what fans drawn in by the Bruce Timm connection may be hoping for. As far as DC Animation direct-to-video adventures go, it’s fine; light, fluffy, inconsequential but still amusing in its own way. But by draping itself in Timmverse stylings, the film will manage to alienate most of the viewers drawn in by the appeal of nostalgia. It may wear the skin of our beloved series, but when the mask gets pulled back the film reveals itself to be closer to recent DC Animated projects than those blessed 90s days. There are pratfalls and fart jokes, and a less-than-flattering portrayal of DC-favorite Swamp Thing that may also draw the ire of Alan Moore fans.

If you know this going in, you should be able to get some enjoyment from Batman and Harley Quinn. Obviously it isn’t going to be Mask of the Phantasm (and what Batman film, before or since, has been as good as Mask of the Phantasm?) but there’s a decent fight scene or two, some fun callbacks, and of course, the all-encompassing nostalgia factor. If the idea of a shallow, candy-coated return to the Timmverse doesn’t sound like your cup of Bat-tea, you’d be well advised to give the film a pass and just pick up the recently released Phantasm Blu-ray. If, on the other hand, you have no idea what all this Batman: The Animated Series talk has been about, and you’re just looking for a Harley fix, you can do far worse.

Beginning as a co-host on a Concordia TV film show before moving on to chief film nerd at Forgetthebox.net, Thomas is now bringing his knowledge of pop-culture nerdery to Sordid Cinema. Thomas is a Montrealer born and raised, and an avid consumer of all things pop-cultural and nerdy. While his first love is film, he has also been known to dabble in comics, videogames, television, anime and more. You can support his various works on his Patreon, at https://www.patreon.com/TomWatchesMovies You can also like the Tom Watches Movies Facebook page to see all his work on Goombastomp and elsewhere.

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‘Tigers Are Not Afraid’ is Dark Fantasy at its Best

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Tigers Are Not Afraid Review

Issa López immediately sets the stage for her latest film, Tigers Are Not Afraidwith an opening text screen detailing the horrific loss of human life in Mexico’s ongoing drug war. The voices of schoolchildren enter the soundtrack, as they recount the creatures and heroes of fairy tales. Moments later, their classroom falls into chaos as gunfire begins to thunder outside, and bullets perforate the walls over their cowering heads. The dichotomy is striking, and purposeful; ‘What use are fairytales to these children?’ the film seems to demand. ‘What business do princes and genies have when we’re confronted with such brutality, such callous disregard for life?’ Tigers Are Not Afraid spends the rest of its runtime grappling with these questions, and the result is one of the best and most urgent fantasy films in recent memory, destined to be a classic among fans of socially-charged fantasy and horror. It stands alongside works like Pan’s Labyrinth in contrasting the fantastical and the brutal, but speaks in its own voice from the first moments to the last.

After that harrowing opening, schoolgirl Estrella returns to find her mother missing, seemingly one of the ever-increasing number of innocents spirited away by the local Huascas gang. Estrella joins up with Shine, a boy trying desperately to keep a small band of fellow orphans safe from the Huascas after stealing a gun and cell-phone from one of them. But strange forces linger in the background, pursuing Estrella and her new friends. Estrella was given three pieces of chalk by her teacher, along with the promise that each one would grant a wish; this magically appears to be true, but Estrella’s wishes also seem as much a curse as a blessing.

While other films have positioned fantastical elements as a relief against the harshness of the ‘real’ world, Tigers Are Not Afraid is more ambiguous. In López’s film, the entities silently following Estrella and her new friends are often sinister and threatening. These aren’t comforting fantasies meant as a means of escape, but simply another aspect of an endlessly threatening world. The film is as much horror as it is fantasy, and walks a fine line between the two. Like the gun and cell phone that Shine steals in the opening scenes, Estrella’s chalk brings as much danger as power — power and control over one’s environment is really at the core of the film.

Shine especially is in a constant search for control, and at first meets Estrella’s newfound position of authority within their group with hostility. Estrella, meanwhile, simply wants to regain control over her previously ordered life. In their pursuit of these goals, both grapple with dangerous power that does not on its own offer clear salvation. Like many films before, Tigers Are Not Afraid cannily blends fantasy elements with a stark appraisal of the world we currently live in, and the two elements play off and enhance each other like an alchemical potion.

López, along with cinematographer Juan Jose Saravina, has also created a film that’s both visually and thematically captivating. The camera is often free-floating — sometimes even letting the subject stray into the corner of the frame — but nonetheless maintains an intimacy with its subjects. The darkly lit streets feel dangerous and threatening, and even more so when the occasional dragon flits from the shadows. While sparse, the visual effects are at home against the dingy backdrop, and the more horrific makeup effects by Adam Zoller help the threats of violence feel real and grounded.

The cast, almost entirely composed of young children, is in top form. At this point, the old stigma about child actors really needs to be put to bed. Paola Lara and Juan Ramón López, as Estrella and Shine, carry the film magnificently on their shoulders. If Tigers Are Not Afraid has any real shortcoming, it’s really that it’s too short. The credits roll after a mere hour and seventeen minutes, and more time to flesh out the side characters — or even to let the audience drink in the atmosphere — would not have gone amiss. One important moment, which won’t be spoiled here, feels critically undermined by the film’s rather quick pace, although there is plenty of time given to the aftermath.

There are worse issues to raise with a film, however. That is the cardinal rule, after all: always leave them wanting more. Tigers Are Not Afraid absolutely does that, presenting a dazzling and often harrowing mix of fantasy and brutal realism, and establishing Issa López as the new director to watch for genre fans.

Tigers Are Not Afraid is streaming now on Shudder

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‘Stephen King’s IT’ Is Dated but Not Toothless

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Stephen King's It 1990 TV Series

Editor’s Note: This article was originally published on September 8, 2017, but for obvious reasons, we’ve decided to spotlight it again. 

With the release of the new, big-budget adaptation of Stephen King’s IT, attention is invariably turning to the previous attempt at bringing King’s gargantuan novel to the screen: the 1990 miniseries. The original IT is mostly remembered for Tim Curry’s performance in the role of Pennywise, the sinister clown that terrorizes the children of Derry, Maine. Curry’s Pennywise can often be found on lists of the most iconic horror characters of all time, and it would be easy to assume that without this one element, It would most likely have fallen into the same obscurity that many of those King miniseries now find themselves in, and as the number of people who’ll be watching the 1990 version before flocking to catch the new adaptation are finding out, the original It isn’t actually that good. It’s not exactly bad, but aside from one memorably over-the-top performance, it’s ultimately still an above-average early 90s miniseries.

The story takes place (as the vast majority of King properties do) in a small town in Maine, and something is targeting the local children, in particular, the group of outcasts and misfits dubbed the Loser’s Club. But rather than a run-of-the-mill serial killer, the entity leaving a trail of dead children in its wake is Pennywise, a sinister clown with supernatural powers and a thirst for blood. With the adults seemingly blind to Pennywise, the Loser’s club must band together to put a stop to his reign of terror, and then meet again thirty years later when their old nemesis returns.

Stephen King's It 1990 TV Series

It’s place as a beloved horror property — or at least a fondly remembered one — can largely be attributed to one element: Tim Curry’s Pennywise. To be sure, it is a memorable performance, full of the kind of enthusiasm and gusto that Curry made a name for himself with. To what degree you’re bound to find Curry’s character actually scary depends a lot on how you feel about clowns. If coulrophobia isn’t something you suffer from, it’s very likely that Curry’s antics, dripping with camp from start to finish, won’t do much to send chills up your spine. Then there’s the infamous ending, which sees Curry’s Pennywise drop away in favor of a giant spider creature, ostensibly his true form. Full credit to the effects designers — it’s a great looking effect, but it’s also completely devoid of subtlety, substituting the sinister, unsettling vibe of much of the series for a big monster in a surprisingly well-lit cave. Luckily for IT, there’s a deeper horror lurking under the surface, but more on that later.

When Curry isn’t onscreen, which is the vast majority of the time, the series rests solely on the shoulders of the cast and production staff, who usually strain under the weight. In a surprising twist, the child actors who portray the Loser’s Club in their initial encounter with Pennywise vastly outshine their adult counterparts, whose performances generally leave a lot to be desired. Even usually dependable players like John Ritter fall short more often than not. The inadequacies of the adult actors are made somewhat worse by the fact that the second half of the series is notably weaker than the first, with the atmosphere undone by too many montages set to upbeat music.

The production staff, including director Tommy Lee Wallace, also don’t do much to stand out. Wallace’s direction is fine, occasionally capturing a spooky atmosphere, but for the most part the direction in IT feels like exactly what it is: flat, by the numbers TV direction typical of the time period.

So if Pennywise isn’t that scary and the formal aspects of the 1990 production aren’t that interesting, what is there to IT in the end? The series’ best moments, the ones that almost make it worth sitting through all three hours, are the moments of true horror scattered in between clown attacks and the giant spider finale. The Losers Club, like so many child protagonists in horror properties, are the only ones who can see Pennywise and all the aftermath of his antics, but IT throws a twist into this tried and true formula. Horror fans will doubtlessly be familiar with this scenario: during a moment alone, one of the protagonists will see a horrifying vision, in this particular case an explosion of blood from a drain or a family photo album. They’ll run and grab their parents, only to return and find everything normal. What they saw was a vision, a hallucination. IT throws a curveball in this formula by having the blood, creatures, and other terrifying manifestations stay around when the adults are in the room. These aren’t visions or hallucinations, but reality — a reality that adults have trained themselves to overlook.

Stephen King's It 1990 TV Series

Why does this matter? Because the true horror of IT isn’t the scary clown or the giant spider — it’s the willingness of societies to look the other way when something is clearly wrong. There’s a key scene when Bev, the only female members of The Loser’s Club, recalls being attacked by the neighborhood bullies. A man across the street sees this happening, and rather than intercede, he quietly returns to his house. It is about what happens when people become so used to cruelty and horror that they train themselves not to see it, to look the other way when presented with something clearly harmful. It’s about the normalization of the abnormal, about the seductive power of willful ignorance when the alternative — action — puts oneself at risk. Look at Henry Bowers, the local bully who’s clearly a dangerous sociopath to anyone who pays attention. What is he, if not just another Pennywise? He’s a problem that everyone looks past because trying to fix it is harder than ignoring it.

Admittedly, this far more interesting aspect is something native to King’s novel rather than something concocted by the makers of the series, so we can’t credit Stephen King’s IT with bringing this particular aspect to the table. We can, however, be grateful that this crucial element was preserved rather than putting a focus on the much shallower horrors of scary clowns and giant spiders.

Watching the 1990 IT, it becomes clear that a second stab is needed to really plumb the depths of the novel and do it justice, as there is a lot of interesting material to be mined. In addition to the more interesting commentary on societal apathy, there’s also King’s dabblings with cosmic horror, something the miniseries pays the barest of lip service to. By the sound of things, Andrés Muschietti has presented us with a far superior version of King’s novel. Does that make the 1990 version obsolete? No, not entirely. Tim Curry’s performance, campy as it is, is still fun to watch. But apart from that element, it won’t be hard for the upcoming second attempt to overshadow its predecessor in most regards.

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Fantasia Film Festival 2019: Thomas O’Connor’s Most Anticipated Films

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Fantasia 2019

The Fantasia Film Festival is once again looming on the horizon, promising three weeks of fun for Montreal film geeks. As always, the lineup is chock-full of new works by familiar creators and promising new talents, and it can be intimidating to decide where to start. But worry not, for GoombaStomp has you covered. In the lead-up to our coverage of this year’s Fantasia Fest, we’ll be bringing you some of our most anticipated films from the selection.

Also, be sure to check out:

Fantasia Film Festival 2019: Patrick’s 5 Most-Anticipated Films

Fantasia Film Festival 2019: Edgar’s 5 Most Anticipated Films

Fantasia Film Festival 2019: Ricky D’s Most Anticipated Films

Critters Attack!

The 80s nostalgia craze seems to be winding down a bit, but that hasn’t stopped numerous franchises from getting revivals and reboots. After all, a new Child’s Play reboot only just landed in theatres. The Critters franchise is the latest to board the revival train, with a quasi-reboot from series producers Barry Opper and Rupert Harvey. Critters is probably the best-remembered product of a wave of “tiny terrors” movies that sprang up in the wake of Gremlins. In the case of Critters, the titular pint-sized creatures are ravenous aliens that devour anyone and anything in their path.

The original films are fun, creative creature features with a dedicated fan following, and while the new installment seems to be positioning itself as a soft reboot, there also looks to be a lot of love for fans of the originals. The new film will continue the franchise’s commitment to practical creature effects, and at least one cast member from the original (Dee Wallace) is returning. Critters Attack! promises a lot of what Fantasia audiences love: nostalgia, gore, and black humor, and seeing it with a lively audience will no doubt enhance the experience of seeing this franchise make its return.

Garo – Under the Moonbow

If you’re into Tokusatsu, the colorful world of live-action Japanese superhero shows, you’re probably familiar with Keita Amemiya. Amemiya has worked with numerous major Toku franchises, having directed episodes of Super Sentai, a pair of short films in the Kamen Rider franchise, and even an installment in the Metal Heroes series. But Amemiya seems to prefer playing in his own sandbox, and projects like the feature films Zeiram, Mirai Ninja, and especially his long-running Garo franchise prove that. Garo follows the adventures of a number of armored demon hunters, men and women dedicated to the destruction of the demonic “Horrors” who prey on unsuspecting humans. Garo in many ways acts as a continuing showcase of Amemiya’s talents for atmosphere and visuals, with ever-expanding mythology thrown in for good measure.

It’s that last part that may keep some audience members at arm’s length from Garo – Under the Moonbow. This is a franchise that’s been going on since 2005, and the chances of the new film sparing much time to get newbies caught up is low. But there’s another element worth considering: Amemiya will be there in person not only to present the new film, but also to offer a Master Class to fans. Even if you can’t tell your Kamen Rider J from your Kamen Rider ZO, the chance to hear an industry veteran with a clear and distinct voice and passion share his experiences as a filmmaker is not one that should be passed up lightly.

Ride your Wave

Anime director Masaaki Yuasa has become a regular presence on Fantasia screens, and you’ll get absolutely no complaints from us. Yuasa quickly stood out from the anime pack thanks to his 2004 breakout Mind Game, and he hasn’t slowed down since. His films are singular in most regards, often sporting a signature flat animation style, a wonderful surrealist edge, and a mile-a-minute rhythm. His films are like jazz, as trite a comparison as that is. They’re uptempo and bold, determined to take the audience by the hand and pull them on a wild ride.

But what makes him especially exciting is his refusal to become too bogged down in a style. He equally comfortable with light, enchanting fare like last year’s excellent The Night is Short, Walk On Girl, and the infinitely darker Devilman: Crybaby series. You never know quite what you’re going to get with Yuasa, but you do know it’s going to be something worth seeing. Fantasia always boasts a solid anime lineup, and this year appears to be no exception.

Master Z: Ip Man Legacy

The Ip Man franchise has become a mainstay of modern blockbuster martial arts films, with new installments every few years. While Ip Man 4 will be releasing in China towards the end of July, its 2018 spinoff will be making its Fantasia debut. Max Zhang stars as Cheung Tin-chi, a Wing Chun martial artist who was defeated by Donnie Yen’s Master Ip in the previous installment.

Whether you’re invested in the series or not, Master Z has enough sheer talent in its roster to draw in fight movie fans in droves. Zhang proved beyond a doubt in Ip Man 3 and SPL 2: A TIme for Consequences that he’s one of the martial arts actors to watch out for, with a dazzling onscreen presence and some seriously impressive fighting chops. But throw in a supporting cast that includes Michelle Yeoh, Dave Bautista, and Tony Jaa, and you’ve got the kind of cast guaranteed to fill seats. As if the film didn’t already have enough winning cards in its hand, the legendary Yuen Woo-ping sits in the director’s chair, bringing his decades of experience to the table, making this an absolute must-see for fans of martial arts films.

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‘Pet Sematary Two’ is a Forgotten Oddity

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Pet Sematary Two

The original Pet Sematary made enough money to warrant a sequel, and director Mary Lambert was brought back to helm it. This must have put Lambert and screenwriter Richard Outten in an interesting position — one where they could take the basic concept then go somewhere entirely new, given that King’s novel didn’t have a follow-up. As a result, Pet Sematary Two feels at once more adventurous and less sure of itself. Yes, the film feels more personal, but it’s also more scattershot than the focused original. The result is almost doomed from the start to remain an oddity, a footnote without even the benefit of being a direct King adaptation to keep it in the discussion. After all, would we really ever need to mention The Tommyknockers if it weren’t for King adaptation retrospectives? Pet Sematary Two isn’t nearly that bad, but it’s just weird and offbeat enough to keep it from finding a real audience.

With the events of the original film relegated to a local legend, the sequel instead follows an entirely new cast. Edward Furlong (looking pretty much unchanged from Terminator 2) leads as Jeff Matthews; his mother, a famous actress dies in the opening scene, prompting Jeff and his father to relocate to their summer home to a place not too far from the Creed house from the first film. You can already see where this is going, can’t you? But it’s not that simple. Jeff also befriends Drew, the stepson of the swaggering local sheriff, who kills Drew’s dog in a rage. This kicks off a chain of events that sees multiple resurrections, which go about as well as those from the first film.

Pet Sematary Two

Mary Lambert’s direction in Pet Sematary Two feels in many ways more confident than her work on the previous effort, as well as more personalized. This is both a good thing and a bad thing; on the one hand, the film isn’t afraid to get weird with it. It’s more out there than the original, with more Giallo-inspired lighting and the occasional appearance by a naked woman with a dog’s head. It also draws a bit more on her background directing music videos, which often leads to more flashy visuals and a music-heavy soundtrack. On the other hand, this sequel feels infinitely more dated than its predecessor. The aforementioned soundtrack is rife with 90s rock hits, and the bully character that torments Jeff and Drew is possibly the most 90s bully you’ve ever seen. A movie feeling like a product of its time isn’t strictly a bad thing, but in this case, it doesn’t really help.

More pressingly, the script feels all over the place — too full of characters and concepts that don’t go anywhere in the long run. Our introduction to Jeff and his father’s new housekeeper seems loaded with foreshadowing, as though this is meant to be an important character. That doesn’t turn out to be the case, and it’s just one of several dead-ends that dot the entire story. Again, this is rather reminiscent of some Giallo films (Fulci’s House by the Cemetery comes to mind in this case), but only in a superficial way. And the time spent on these dalliances often feels like it would have been much better devoted to fleshing out the primary characters. Jeff, in particular, feels like he’s missing one or two pivotal scenes, as he goes from fairly normal to borderline crazy virtually between scenes.
Pet Sematary Two

If anything makes Pet Sematry Two definitely worth watching, it’s Clancy Brown as Sheriff Gus, a performance that ironically comes alive only after Gus is (spoiler alert) killed and resurrected by the titular burial ground. Brown goes full-Kurgan after his resurrection, growling, and cackling and hamming it up like an absolute champ, and it’s a joy to watch.

It’s not too hard to see why Pet Sematary Two hasn’t even been remembered enough to warrant a Blu-ray release. While the original was streamlined and relatively timeless, the sequel is clunkier, more awkward, and more 90s. In many ways, it also feels more creator-driven, more prone to eccentricities. This alone at least makes it more interesting than the second adaptation of the novel from 2019. Maybe that’s enough.

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The Original ‘Pet Sematary’ Still Terrifies After 20 Years

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Pet Sematary

1989’s adaptation of Pet Sematary hasn’t quite reached the pop culture ubiquity or infamy of many fellow Stephen King adaptations, but it has enjoyed a cult following since its release. Far from the lofty heights of The Shining but further still from the bargain-basement lows of The Tommyknockers or Cell, it’s remembered fondly by those who remember it. But why exactly has it managed to stick around in the hearts of horror fans? With the upcoming second attempt at a direct adaptation, many will be revisiting the original and trying to decipher that for themselves. Many will also likely come to the same conclusion: that rather than doing any one thing spectacularly well, Mary Lambert’s adaptation does almost everything just right enough.

Dale Midkiff stars as Louis Creed, family man and proud new owner of a house in rural Maine. After their pet cat is killed by a truck, new neighbor Jud makes the terrible decision to show Louis a Native American burial ground deep in the woods that causes anything buried there to return — albeit with more aggressive tendencies and a bad smell. But when Louis’ young son meets a similar fate as the cat, he decides to ignore Judd’s advice that “sometimes dead is better.”

Pet Sematary

The overall atmosphere is top notch, with sharp camera work and lighting adding to a spooky, faintly Gothic vibe that the film has overall. The effects, courtesy of now-industry vets David LeRoy Anderson and Lance Anderson, are usually effective at bringing to life sights like the mangled spectres that haunt the characters. The cast, however, are easily the most mixed element; Midkiff, despite his best efforts, seems to strain under the burden, often coming across as flat and wooden in the demanding role of a grieving father. Perhaps he was trying to exude a sense of weariness or numbness, but more often than not he just seems half-asleep. At the complete opposite end of the spectrum is Fred Gwynne as neighbor Jud. Where Midkiff feels flat, Gwynne’s performance is vibrant. His often-imitated turn is easily half the reason the film is remembered as much as it is, with just the right mix of paternal warmth and folksy wisdom. He can sometimes be more than a bit hammy, but the memorable kind of hammy.

Being one of very few King adaptations scripted by the man himself, the script also does an excellent job at paring down the story to the essential elements. Pet Sematary is one of those rare adaptations that doesn’t feel overly compromised by the transition. King’s dark tale of mourning and desperation feels as comfortable on screen as it did on the page, lacking the telltale marks of botched adaptation that leave many of its peers feeling constrained by the medium.

Pet SemataryCrucially, the film also doesn’t hold back when it comes to the third act ramp-up, and the rampage of a certain character after having been resurrected by the cursed burial ground remains shocking to this day. The film goes to places that many other horror films would consider off-limits when it comes to child characters, and alongside Fred Gwynne’s performance, that willingness to dive headlong into the darker aspects of the material probably ensured its legacy. That’s not to say it’s preoccupied with transgression, but just that it doesn’t hold itself back.

The Pet Sematary remake has a high, if not insurmountable legacy to overcome. The original, for everything it does well, does suffer from its lead actor. That slack, however, is mostly picked up by the supporting cast — Fred Gwynne chief among them, and it’s his shoes that will be toughest to fill. Even if the remake is a flop, it’s good to know we’ll always have the original.

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