Why? Well, I’ll admit it gets the main things right in spending time on the characters and the demons they carry. Pennywise always was a metaphor for abuse- sexual abuse, physical abuse, emotional abuse and (especially) gaslighting. This subtext is handled exactly right here, hence things like our glimpse of the horribly abusive relationship with which the adult Beverley starts the film. Henry Bowers, while bad, is bad because of the abuse he's suffered. And Bill's guilt over little Georgie always was exacerbated by Pennywise's gaslighting. And I like the way this version was careful to emphasise the childhood anxieties we all had, and which can linger into adulthood if we don't face them as the Losers do here. And Beverley may be a textbook example of Smurfette Syndrome, but one can't blame this film adaptation for that.
The visuals, direction, lighting and suspense are superb, as are most of the scares. But there are, it has to be said, one or two which don't quite work, and in some places made us laugh- floppy jiggle tits, I'm looking at you. And, while there are plenty of effectively funny lines, Bill Hader in particular is superb at this side of things, and there's a splendidly metatextual cameo by Stephen King in which he accuses his fictional alter ago Bill of the rubbish endings his own critics keep mentioning, in the end the film is just a little too long and flabby, ad could do with editing down just a little.
None of that detracts from the fact I very much enjoyed this film, however, and the way it was shot was superb. It just didn't quite match the standard of its predecessor.
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