The movie gets an automatic half point deduction because it was so intense and gripping that I had to leave the room a few times and scream to my family, “What’s happening now?”  I have to assume there were some problems with the picture during those moments.  Otherwise, John Krasinski’s sophomore effort as a director is taut, assured (you feel he really had a vision as to almost every scene), and at the right times, edge-of-your-seat terrifying.  It is also bolstered by wonderful performances that are necessarily non-verbal.  Krasinski is moving as a beleaguered father trying to protect his family, and Emily Blunt’s travails as she communicates them are almost too much to bear.

The only thing you need to know about the plot is that the monsters can hear EVERYTHING!

Director Andy Muschietti’s knows his way around a spook story, as evidenced by his very creepy Mama, and with the aid of a troupe of incredibly gifted child actors and the can’t miss image of a clown roaming the sewers, he delivers the goods.  The film rocks you with jump scares and terrifying imagery as Pennywise hunts his prey, and Muschietti covers his doomed Maine town in dread.  Yet, the relationships between the children are authentic and sweet, engendering empathy and bolstering a critical plot point in combating the evil that lurks below.

My orthodontist used to have his walls covered by clowns of every shape and size, a decor choice which contributed to my crooked teeth.   In every clown on that wall was a potential Pennywise, a diabolical trickster and eater of souls with a gift for gab that could entice vulnerable kids to their doom.

But enough about me.  Muschietti’s Pennywise is as indelible and monstrous a film character as I’ve seen.

There are a few weaknesses.  The film is too long, and as my son pointed out, they could have done with one less child character.  There are also a few script clunkers, such as when one of the children mentions that the town has six times the national average in missing people, and a higher percentage for kids.  Such a town would be dead, not seemingly thriving.

Last, Stephen King hates adults.  That is all well and good (who doesn’t?), but the conceit is hackneyed.  As with most King stories centered on kids, in It, every adult is cruel, abusive, distant, crazy and/or a molestor, which is meant to underscore the vulnerability of the children, but really, only serves to cheapen the story.

Still, this is well worth the $235 it currently costs to attend a movie.

One of the stand-bys for black comics is scary movies and the idiocy of white people who insist on staying in a haunted house that says “Get out!” so it is a clever reverse when our black protagonist (Daniel Kaluuya) stays on at the weekend house of his white girlfriend (Allison Williams) when every white person there is race inquisitive, if not obsessed beyond any concept of reason, as well as Stepford creepy, and every black person there is, well, a Stepford wife.

Writer director Jordan Peele makes a significant mistake, however, with an opening scene that reveals the ultimate danger. All that is left is the how, and it’s a credit to his script and his taut direction that the film remains interesting.

Also, in 1975’s The Stepford Wives, substituting the perfect sexpot obedient wives for the opinionated and very liberated Katherine Ross and Paula Prentiss made diabolical sense, as the feminist movement threatened man’s control over his suburban environment. Here, the question “why black people?” is asked directly and the answer is not only insufficient, it’s bewilderingly casual.

Still, the film is very clever in parts and the broad comic relief (best pal Lil Rev Howrey) is hilarious.

A taut and frightening blend of Misery, Room and War of the Worlds, this is great fun, made even more memorable by John Goodman’s “is he crazy or is the most sane man in the world?” performance. A plot synopsis would drain too much fun from the whole endeavor. Enjoy.

This is a consistently disturbing and terrifying film, one that explores myth, religion, and the dread of isolation in the cruel and unforgiving setting of pre-colonial America.  Writer-director Robert Eggers is a master of the creepy visual as he tracks a Puritan family, cast out from their community and into the wilderness on the strength of religious conviction. It is there, alone, that the bonds of their faith and family and the limits of their sanity are tested by the supernatural.

This film has a lot in common with The Babadook, invoking both curse, madness and the susceptibility of children, and like that film, there are moments of absolute horror that do not rely on a drop of shed blood.  If there is a weakness (and it is by no means universal, just one of personal taste), it is the simplicity of the threat. In The Witch, the threat is omnipotent and unexplained. It has no backstory, no articulated lore, and no vulnerability. As such, as assured as it presents, there is a decided lack of drama. We quickly learn these folks don’t stand a chance, and while their fate and story is loads more interesting than standard meat grinder fare, I just don’t have much of an interest when the deck is so stacked, no matter how skilled the effort.  Nonetheless, this movie has one of the spookiest feels of any I’ve seen.