Although another twenty-seven years have passed, although the children have grown up and have a successful career, and even though Master Stephen King himself has made a cameo appearance for the film, there is no doubt that this film has not made any progress compared to the previous film.
Like the previous work, this work is long in specific space and time, creating a terrifying atmosphere, but avoiding the psychological fear of the true clown connotation, or even completely castrated. This greatly reduces the depth of fear in the film. The specific horror scenes emphasized in this work are also too similar to the previous work, and the sense of horror and freshness are greatly reduced.
This is a relatively mediocre horror film work, and it is also an IP work that follows a dog's tail. His way of expression, his horror style, is very not a clown.
The perspective of the previous work is the mentality of the child. Children have extremely rich imaginations and are very sensitive to things, so some of the inner demons they suffer will be prominently reflected in some weird ways. And these inner demons grow and grow with the light of death, forming a boss in the children's growth process. In the end, the innocent child was defeated in an inadvertent way.
The process of the previous work was random, accidental, and lucky, and it was because of this luck (and the accompanying hard-to-replicate characteristics) that the protagonist was secretive about his experience with the Joker. And the essence of this secretiveness is the fear of clowns.
The excellence of the previous work lies in this. The previous work firmly grasped the psychological fear point of every child, and seamlessly combined the characteristics of the clown's illusion with this fear point, and used the most natural way to highlight the most bizarre and most mysterious. Horrible atmosphere. Not only that, in the children's entire detective process, the clown has always been everywhere. This kind of precise attack that hits the heart directly, combined with the stalker, has formed a fatal threat to the child's survival and psychology in all directions.
However, to be able to shoot like this twenty-seven years ago, and to shoot like this twenty-seven years later, is it a bit lazy?
In the film, the world twenty-seven years later is no different from the previous one. I understand that several protagonists are still affected by the shadow of childhood pain (this setting), after all, the influence of the original family and the shadow of childhood is immeasurable. But what I don't understand is that several protagonists in this film are only influenced by the shadows of childhood. The additional complexity and confusion the adult world brings to them is completely avoided by the film. It seems that the moment the protagonists step into Derry Town, the outside world has nothing to do with them, even though they were so successful in society at the time.
For example, Bill, who is married, but also kisses Beverly deeply, how does he deal with the emotional relationship between his first childhood love and the yellow-faced woman at home? Like Beverley, what is the deep emotional logic behind his commitment to another sadist like his father? For example, talkative, why is he so flamboyant (even to the point of being a bit annoying)? For example, Little Fatty, he has never been married as an adult. Why is he waiting for Beverly?
I think the adult world provides a space for these character traits to extend. The film does set the environment in which these characters will be in adulthood, but this adult logic line does not have a deep interaction with the clown's logic line. In fact, these adult settings are just to show that the protagonist is an adult and has a successful career. And their association with the clown line is likely to be castrated due to the lack of control of the screenwriter over the complete plot.
The consequence of this is the lack of psychological logic after the characters grow up. And the character of the character has become very thin because of this. The little fat man has been missing twenty-seven years of growth, and in this film he has become a simple, rich and handsome (I want to ask the heroine, if it is still the original little fat man, will you still love it). Bev lacked 27 years of growth, and in this film is a simple silly white sweet image. And Eddie, the years really didn't leave any marks on him. . . What it was like twenty-seven years ago, and twenty-seven years later, without any in-depth character digging (I always feel that Beverley knew that his treasured poems were written by Little Fatty, and immediately fell in love with him, This setting is really a bit nonsense). . .
Several of the main characters just had a different cast, and they were essentially doing the same thing. But I have to say that these adult versions of the actors were chosen really well.
In fact, I do not reject reasonable revisions to the original work, but I do reject the unreasonable editing of the original work. And the ending of this film is this irresponsible mess. After all the bullshit, the clown became very powerful. He perfectly avoided the destruction ceremony that the black brother was thinking of, and turned into a full-fledged spider monster image. And hunted down several protagonists.
But the chasing process lasted for more than ten minutes, and the only victory was to kill Eddie, the weakest among the few (both physically and psychologically, he deserved his name). . . In the end, when the clown was extremely inflated and conceited, he was scolded to death by several other protagonists. . . . Yes, that's right, the clown was scolded to death. . .
If the handling of the previous work is accidental and unexpected, but still has a certain rationality, then the way the clown is eliminated in this work is purely a joke that the main creator cannot continue. . . Although the main creator may have his own interpretation of this treatment. But no matter how it is played, logically speaking, this setting cannot convince the audience at all. What's even more lacking is the tension and fullness of the ultimate battle: a generation of monsters, extremely ferocious, just. . . That's it. . .
In addition, there is a part of the logic of the plot that is difficult to understand. Twenty-seven years ago, the clown was obviously sealed, but after they sealed the clown, the clown would still appear in their respective lives until they left the town. And the reason for this is that the clown has not been completely sealed? Or is it a function of their dark psychology? The video doesn't say anything.
The Joker is the death light, but what is the essence of the death light? A man-eating monster lurking in Derry Town? Or insight into the human psyche, feed on fear, and grow and extend like a virus, the dark human psyche? In fact, the film does not give a good answer to the end.
So this movie is really disappointing
View more about It Chapter Two reviews
