Movies
Pennywise, His Defeat, and The CGI of the Stephen King ‘It: Chapter’ Movies
Whenever the announcement of a classic horror movie remake is made, there is an audible gasp happening in comment sections across the Internet as fans of the original movie collectively clutch their pearls. On the one hand, reservations about remakes are often justified. As horror fans, we’ve seen studio after studio try to make profits by remaking original horror ideas with lackluster effort.
These films insult the original piece, as they’ve skirted through the original’s blood, sweat, and tears to give us a film that feels manufactured.
On the other hand, lives a difficult truth. Remakes modernize horror movies, making them much more palatable to younger audiences. There’s something inside of the grain of old horror movies that causes an immediate disconnect to today’s viewers. So, the truth is, if we love these icons and genuinely wish to keep them alive, we must love the reignitions of their spirit. I often have to remind myself of this when it comes to the Andy Muschietti It movies.
Is the It Remake a Good Movie?
Of all the horror movie remakes to be announced, none caused the visceral reaction so much as the one brought about by the remake of Stephen King’s It. Even my sweet love A Nightmare on Elm Street didn’t have the Internet in as entirely of an uproar when its remake was released.
The film’s announcement went into immediate competition with the It made-for-TV miniseries released in 1990. The film is a beloved viewing staple, with It being the first horror movie many ever saw – not to mention that it is one of Stephen King’s most iconic, chunky stories.
Andy Muschietti had extraordinarily large, clown-sized shoes to fill when approaching this Stephen King adaptation. It’s worth noting that he also had the added difficulty of dealing with the World Clown Association, as they’ve been working diligently to de-monsterize clowns in the mainstream. These films, coupled with the 2016 clown sightings, have given them rugged terrain to tread. And I’m sure John Wayne Gacy’s entire existence created an uphill battle from the start, but I digress.
I tend to have mixed feelings about the It movies. So, it’s time to lay it out: the good, the bad, and the ugly, and see where the movie truly lies in my horror fan heart. Are the It movies good?
Bill Skarsgard as Pennywise
Pennywise is the most easily recognizable thing about It movies, remake or not, so his presentation is essential. Tim Curry is a god amongst men, and finding someone who could deliver us Pennywise anew could not have been easy. Yet, Andy Muschietti achieved the impossible. If you were ever going to find someone to follow Tim Curry to play Pennywise, Bill Skarsgard was it. He is one of the best things about this movie, as he delivered the role masterfully. He’s changed who I picture when someone says “Pennywise,” and for that, he receives all the kudos he is due. If only the CGI had been able to follow suit.
The CGI in the It Movies
The CGI in the It: Chapter movies left a lot to be desired – the scene with the CGI old woman being the largest offender. Her cartoonish face immediately saps all the magic from that moment. Someone alert the toons of Toon Town, as it appears Judge Doom is back with his vat of Dip.
Instead of this grotesque CGI, the better choice would have been to use some old-fashioned practical effects. The choice not to go the more complicated route exemplifies the sin of skirting blood, sweat, and tears that I referenced earlier. It’s understandable in many circumstances, as special effects makeup is hell on the performers, but it’s still getting you docked several points in this case.
I could go on, but I have bigger fish to fry here.
How Pennywise Was Defeated in It: Chapter Two
So far, we’ve talked about the good and the ugly. Now it’s time for the bad. I can think of no other word to describe the ending we received in It: Chapter Two.
Look, I’m a big Nightmare on Elm Street fan. I am no stranger to the cheesy concept of “removing your fear removes its power of you” as being the way to defeat the seemingly invulnerable bad guy. (Although that didn’t *technically* beat Freddy in NOES, I’m reverting my ADHD brain back to the point.)
Of all the ways to defeat Pennywise, having the adults essentially stand in a circle, taking turns in telling Pennywise he’s a loser, causing him to morph into a blubbering mess, was at the bottom of my list.
In the book, the adult Losers defeat Pennywise by crushing his heart inside his body. In It: Chapter Two, they defeat Pennywise by crushing his proverbial heart, and I cannot pretend this is okay.
The Consensus
I want to dislike the Andy Muschietti It movies. I truly do. The CGI and the ending always at once suck the magic out of the horror for me, and each time I’m disappointed when they pop up. However, Bill Skarsgard’s performance as Pennywise makes me inclined to look the other way at the negativity. Don’t get me wrong, we got terrific performances from everyone involved. However, the star of the show is, has been, and always will be Pennywise, and the fact that he was represented so excellently is a huge tip in the film’s favor. After all, one of the most beautiful things we received from the remake of the It movies is the lasting impact Pennywise gets to make now. Whole new generations are growing up terrified of sewers and red balloons; that would not be so if it weren’t for these movies and the performances being so expertly done. All in all, the It movies helped mold a new generation of horror fans, and it will always hold a special place in my heart for that.
Do you wildly disagree? Yell at us about it over on the Horror Press Instagram. Our Editor-In-Chief, James-Michael Fleites, will receive your DMs of rage, not me, but I am sure he’ll happily pass the message along so long as you remember to follow while you’re there.
Looks like another July will be spent getting cozy with Shudder in this house. Between all the new (to me) international titles and the conclusion of Hell Motel on July 29th, the app has filled my calendar for the month. Hold my texts, keep your emails in the draft folder, and don’t look for me outside. My TV and I are on a mission, and we’re prioritizing the five titles below. I hope they grab your attention and make it into your Shudder viewings this summer as well. However, I’ll be too busy watching them to know what anyone else is doing, so happy streaming whatever you decide to get into.
While we have you here, you should consider joining us for Bloody Brunches! Every Sunday at 11 AM CST / 12 PM EST, we’ll be livestreaming a new episode of Hell Motel. Who know’s who you’ll see, sometimes Ian Carpenter and crew stop by!
The Best Movies to Stream on Shudder This Month
Lake Placid (1999)
A small group of people try to capture a gigantic crocodile terrorizing the people of Black Lake, Maine. I am not an aquatic horror girl, and I am usually unimpressed with 90s action horror titles. I make a special exception for Lake Placid though. Sure, it stars Bridget Fonda, Bill Pullman, and Oliver Platt. However, real film buffs know that it’s really the late Betty White who carries this movie. Her foul-mouthed character stood on business and is the reason most of us revisit this title during the summer.
You can watch Lake Placid on July 1st.
Nyi Blorong (1982)
The South Sea Queen’s daughter rises to take a human lover. I have a long history of disliking snakes and movies about snakes. However, I’m leaning into this 1982 film because I deserve a retro Indonesian horror fantasy moment. I am also excited because it stars the late Suzzanna, the queen of Indonesian horror. I only learned about her a few years ago and wanted to spend some time with her work. As usual, Shudder is making it too easy to become a better cinephile.
You can watch Nyi Blorong on July 7th.
The Housemaid (2018)
An orphaned girl is hired as a housemaid at a haunted rubber plantation in 1953 French Indochina. Once there, she falls in love with the landowner, which sends the ghost of his dead wife into a jealous rage. I was excited to watch this just because it sounds chaotic, and I do not see enough Vietnamese horror for my liking. However, I recently discovered it is also an IFC Midnight title, so now my expectations are through the roof. IFC has been the home of upsetting, weird, and unique horror since 2010. I have a date with Shudder on July 14th, because I want this movie in my eyeballs the second it becomes available.
You can watch The Housemaid on July 14th.
Swallow (2020)
A pregnant housewife is compelled to eat dangerous objects, leading her husband and in-laws to become more controlling. Swallow had the misfortune of debuting during the top of the pandemic, so many people missed it. I found it on accident during Thanksgiving back when Showtime still had its own app. It’s quiet chaos that surprised me in a good way. I have been trying to make everyone I know watch it, and Shudder is making that so much easier this month. I am overdue for a rewatch myself, so I will also be hitting play while it’s available this July.
You can watch Swallow on July 21st.
Monster Island (2024)
A Japanese ship transporting prisoners of war and a British POW are stranded on an island where a mythical creator hunts them. Can they work together now that their very survival depends on it? I was bummed I missed this movie at Overlook Film Fest this year because all my friends loved it. So, obviously, I am thrilled Monster Island (also known as Orang Ikan) is hitting the Shudders streets so soon. I do not know what the other monster movies are doing this July because my heart belongs to this baby.
You can watch Monster Island on July 25th.
So, as usual, I will be hiding in my apartment and trying to make Shudder Saturdays my personality. I’m running at their international titles like it’s my job and revisiting a few movies I never spend enough time with. I hope your Shudder watches spark as much joy for you as I expect mine will this July.
In the 90 years since its release, The Bride of Frankenstein is still the Universal Monsters franchise’s strongest film.
I first watched The Bride of Frankenstein on cable around 15 years ago. Director James Whale’s fable of a misunderstood creature’s quest for a bride really stayed with me after subsequent viewings. Speaking of The Bride, she’s the Universal Monster with the most potential for a gripping and modern reimagining that hasn’t been fully tapped into yet. Universal’s newest theme park Epic Universe, opening back in May, inspired a deeper dive into The Bride of Frankenstein, the titular role and its legacy.
Unveiling The Bride: The Plot and Power of the 1935 Classic
Immediately following 1931’s Frankenstein, The Bride of Frankenstein centers on Henry Frankenstein (Colin Clive) as the sinister Dr. Pretorius (Ernest Thesiger) urges him to collaborate on creating a mate for The Monster (Boris Karloff). In the meantime, The Monster travels across the countryside, learns to speak, and meets Pretorius. When both scientists complete and unveil The Bride (Elsa Lanchester), she rejects The Monster, motivating him to pull a lever and famously say, “We belong dead.” Pulling the lever ignites an explosion, killing The Monster, The Bride, and Pretorius.
Just as it took two scientists’ minds to create her onscreen, two individuals gave life to The Bride’s characterization and look: Lanchester and makeup master Jack Pierce, who designed nearly all the original Universal Monsters.
The Bride’s Hiss: How Lanchester Stole the Show with Limited Screentime
The Bride not being the film’s main protagonist is ironic since she’s the title character. Making the most of her brief performance, Lanchester’s swan-like mannerisms as The Bride sharply contrast with the humanity Karloff brings out of The Monster. After her dual role as The Bride and author Mary Shelley herself in the film, Lanchester took on more horror film roles like Henrietta Stiles in Willard (1971). It’s not hard to imagine what could’ve been for her career if she reprised her role in The Bride of Frankenstein’s sequels Son of Frankenstein and Ghost of Frankenstein. If a lab explosion couldn’t kill The Monster, wouldn’t it be the same for The Bride?
Besides the white streaks, Lanchester surprisingly didn’t wear a wig to portray The Bride since Pierce shaped her red hair to look the way it does. Pierce’s work on The Bride is just as iconic if not more so than Lanchester’s performance, ensuring the character became inseparable from her intended suitor in pop culture’s eyes. Case in point: There’s so much officially licensed merchandise playing up a romance between the two characters, even though The Bride can’t stand her intended mate. Beyond Lanchester and Pierce, there is one man responsible for how the film itself would come out.
James Whale’s Masterpiece: Directing The Bride of Frankenstein
Whale stitched great set designs, fantastic performances and composer Franz Waxman’s eerie score together to create a masterpiece.
Having Frankenstein, The Old Dark House and The Invisible Man under his belt by the mid-‘30s, it’s clear Whale creatively peaked while working on The Bride of Frankenstein. Although so much about Whale’s talents has been said, there’s a reason why his work on the film stands out across his filmography: He really went wild when directing it. Every character is practically cartoony, the sets are more elaborate and the plot is thematically richer than the original’s. Being an openly gay filmmaker, he cranked up The Bride of Frankenstein’s camp to legendary heights.
The Bride of Frankenstein is the final horror movie Whale directed. The novel Father of Frankenstein and its film adaptation Gods and Monsters, starring actor Ian McKellen as Whale, dramatize his life after directing the film. According to the reference book Universal Horrors by Tom Weaver, Michael Brunas and John Brunas, he initially didn’t want to direct his horror work’s apex. Just like Henry Frankenstein’s relationship with the monster he created, The Bride of Frankenstein’s production is a case of life imitating art. The Monster’s in-universe infamy further parallels Whale’s Frankenstein duology’s lasting popularity.
How The Bride of Frankenstein Shaped Horror Sequels and Adaptations
The Bride of Frankenstein’s influence can be seen across other horror films and Frankenstein adaptations.
Having “Bride of” in a horror sequel’s title is synonymous with including the main character’s female counterpart, leading to Bride of Re-Animator, Bride of Chucky, etc. The similarities go further than the titles, with The Bride of Frankenstein inspiring the former’s plot and furthering Tiffany’s arc in the latter. The Bride of Frankenstein inevitably shaped Frankenstein’s future adaptations as well.
Directed by Kenneth Branagh, Mary Shelley’s Frankenstein from 1994 closely follows the original novel. Breaking away from the novel’s narrative, its third act pays homage to The Bride of Frankenstein when Victor brings Elizabeth back to life with similarly brief screentime. Mia Goth’s seemingly red hair on the set of Guillermo Del Toro’s upcoming Frankenstein may hint at her character similarly becoming The Bride.
The Bride’s Untapped Potential for a Modern Horror Remake
With Warner Bros. releasing its own take on the character with The Bride! in 2026, it makes Universal’s reluctance to make a new remake downright egregious.
The Bride is still the literally redheaded stepchild among the Universal Monsters. When it comes to being neglected by Universal, The Creature From the Black Lagoon is the only character who rivals The Bride, but that’s another story. Universal did plan a remake directed by Bill Condon, who helmed Gods and Monsters, for its aborted Dark Universe film franchise.
The Bride’s Absence in Epic Universe’s Monsters Unchained Ride
Looking at Epic Universe, the Monsters Unchained: The Frankenstein Experiment ride apparently leaves The Bride out, even though she makes more sense to be in it than The Phantom of the Opera. However, The Bride does make meet-and-greet appearances across Dark Universe’s grounds.
Several ideas can be incredible for when Universal finally releases a remake of The Bride of Frankenstein someday. Based on what I’ve heard about 2023’s Poor Things, it’s exploration of a mad scientist’s creation’s experiences in a restrictive society is closer to what a modern reimagining should be. Having a woman behind the camera can lead to a feminist vision, delving into The Bride questioning her life’s purpose.
Until the day a proper remake debuts, the original 1935 film remains The Bride of Frankenstein’s definitive incarnation.
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