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Ray Pride

By Ray Pride Pride@moviecitynews.com

Grown Goonies In The Boonies: A Review of IT Chapter 2

IT2-29369r_High_Res_JPEG“IT” has… stuff. [Mild spoilers.] You know if you want to see it, and if you want to see it, you’ll see it, and if you have reservations about seeing it, IT Chapter 2, or, “Grown Goonies in the Boonies,” is likely not for you.

Set in a visually undistinguished edition of Stephen King’s Maine-of-the-mind, the further deaths by misadventure of the make-it-up-as-you-go-along clown Pennywise should creep or repulse only the most devoted fans of the 2017 original or the most hidebound of coulrophobics. (Fan service and callbacks be thy curse.) Twenty-seven years after the doings of the $700 million worldwide-grossing adaptation of the early going of King’s 1,138-page skull-cracker, the Losers’ Club grown large, which once defeated the spectral murderer Pennywise, return to Derry in 2016 for a final bout. The opening hate crime-turned-murder that signals the return of the nightmare creature ends with a skyful of red balloons about as haunting as a pile-on of emojis rising from on Instagram on someone’s birthday. (The preceding torture and death goes on a good while, and includes extremely crunchy sounds of bodily harm.) [Read more.]

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima