What the IT Movie Gets Right (And Wrong) About Beverly Marsh. Be aware there are spoilers for IT (2. Watch Perfect Sense Online Hollywoodreporter. Stephen King’s 1. There’s something evil in Derry, Maine.

Lurking in the sewers, traveling freely through the homes, and corrupting the world around It, an ancient, malevolent force returns every 2. Derry’s citizens.

But there’s another sinister force at work; a much more mundane form of evil that casts a blind eye to the suffering, or worse yet unhitches its belt behind closed doors to bring even more pain to the innocent. There’s no cosmic power to this evil, but it’s immortal in its own way, passed down through generations in the form of racism and abuse, corrupting the purity and goodness of everything it touches as easily as It inspires violent chaos. While the Losers of Stephen King‘s IT are all battling their personal demons as they race through the streets Derry, hunting a child- eating monster, Beverly Marsh alone goes home every day to find another monster waiting inside her house. If the other kids can run home and lock their doors, keeping the bullies at bay, Beverly is only locking herself in with something much worse.

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Her horror is too real, too familiar. Unlike It, who torments his prey in many guises, flipping through glamours to take the form of whatever terrifies It’s victims most, Beverly’s monster always wears the same face — that of her father. As written in King’s novel, Beverly’s journey through abuse was as progressive as it was problematic, a portrait of a complicated woman who escapes the abuse of her childhood only to fall prey to it again as an adult, wrapped up and overshadowed by IT‘s infamous ending, in which Beverly reclaims her sexuality by having sex with all of the Losers, one after the next, cementing their bond and affirming their transition into adulthood.

Naturally, Andy Muschietti‘s film adaptation has no such scene, that’s unfilmable, but it shares all the essential factors with the source material, premier among them the willingness to acknowledge and validate teen sexuality as a real and powerful force. Image via Warner Bros. Being a teenage girl is a perilous time, even without a child- eating space clown gnawing through your town like a virulent, degenerative disease. If coming of age is an awkward, all- consuming experience for young men, it’s a seismic, unparalleled transformation for young women; beautiful but horrifying, and traditionally veiled in the insidious secrecy of social decency.

It’s the shocking moment when unprepared girls wake up with blood in their underwear; the moment when the men who used to see you as a child to be protected look at you with a new and often unwelcome glint in their eye, and when women jaded by the loss of their own youth begin to see you as a threat. Muschietti’s film gets this transformation, understands the weight of it, and treats it with respect and unfettered honesty usually reserved for pensive dramas. Don’t get me wrong, Beverly’s arc isn’t perfect in the film, unfortunately undercut by some poor third act shortcuts (we’ll get to that), but that acceptance of the innocence and maturity that co- exist within this young woman is worthy of investigation and celebration. Rarely has nascent female sexuality been treated with such candor, even in the unflinching horror genre, which has too often been among the most guilty parties in exploiting teenage sexuality without offering any insight.

In King’s novel, we first meet Beverly as an adult, in a pivotal moment of bedraggled triumph as she wrenches free from the hands of her abusive husband, battered and bruised, and steals away into the night. Watch Online Watch Point Break Full Movie Online Film. Her journey through abuse is told in tandem, her childhood and adult battle for enfranchisement intertwined in overlapping passages of time. Muschietti’s film bisects the narrative into two parts, focusing solely on the childhood arc for the first film, so our understanding of the character becomes something different, only half of the character’s true arc.

But that focus also gives the material potency in exploring the experience of a maturing young woman. When we meet Beverly in the film, she’s at that wildfire liminal age, on the cusp of womanhood she neither fully understands nor desires, rejecting it even as she learns to use it to her advantage. When the boys need a quick escape, Bev flirts with the pharmacist and he reacts too indulgently, a shark’s grin peeking through his veneer of friendliness. Image via Warner Bros. That element has conjured up some ire in viewers, who see the film’s male gaze as embracing outdated tropes and exploiting a teenage girl. I would argue the opposite. The male gaze is an essential part of Beverly’s experience, perhaps the defining factor in the ills that plague her.

To be clear, not the factor that defines her, but defines her fears. IT is all about fear. Likewise, criticisms have been lobbied that the focus on her gendered experiences deprives her of an equal place in the narrative, but again I’m the contrarian.

Muschietti lets Beverly’s arc be an unabashed exploration of girlhood and womanhood, making the female experience central in a genre that has long been focused on boys becoming men. Muschietti’s film shows us how she is seen, but more importantly, it shows us how she sees.

When Beverly strips down and jumps into the quarry, we’re not only seeing the wonder of the young boys enraptured by her fearlessness and beauty, we’re seeing a woman defiantly unashamed of her body despite the barrage of shame beset on her by all sides. There has some criticism regarding the skin- baring nature of that scene, which I find especially odd considering she’s surrounded by five equally disrobed young men. To me, that speaks more to our own hangups with the female body and the insistent, potent fear of a young woman’s sexuality. Beverly may have that confidence when she’s surrounded by her friends, but that doesn’t mean she’s gotten away unscathed. She feels like the same girl she’s always been, but the world is shifting around her as she comes of age. And so, as we learn when she confronts It for the first time, Beverly’s great fear is her burgeoning womanhood.

And who wouldn’t be terrified if their father leered at them that way the moment he saw tampons in your hands. As a response to that encounter, she hacks off her hair, but we all have to grow up, and womanhood isn’t so easy to reject. When It comes to her in her bathroom, her hair shoots back out of the drain, binding her, and in a none- too- subtle metaphor, blood roars out of the sink, painting the room red. Of course, her father can’t see it, and her trauma is invalidated once again. Image via Warner Bros. Beverly isn’t just tormented at home — though in a change up from King’s novel, the film makes her father’s abuse even more blatant.

In the book, Mr. Marsh is attracted to his daughter, but his attacks are rooted in violence. The film heavily implies this version of the character has indulged more than just his thoughts.

It’s a change I distinctly disliked in Cary Fukunaga’s draft, bur Muschietti tones it down and weaves it into her arc in a way that makes sense without fetishizing her victimization. That abuse travels out with her into the world, where she has earned an unjust reputation as the town slut, despite being a virgin — the nefarious, hungered rumor- mongering that plagues young women without the pedigree, wealth, or parental support to shield themselves. And it’s not just the kids — the adults whisper too.

IT Comic- Con Trailer & Clips Description. Helping to kick off San Diego Comic- Con, horror came home as audiences got a sneak peek at Andy Muschietti’s IT. Reinventing Stephen King’s 1. The first part of the coulrophobic horror adaptation is due for release this September, with IT Part 2 filming sometime next year (assuming the first movie isn’t a complete box office bust – which seems quite unlikely).

Centering around a town that is rocked by a spate of grisly child disappearances, IT revolves around a group of frightened friends (known as the Losers Club) who must face an ancient evil and confront their fears together. While the footage reportedly won’t be making its way online, EW was there to report on what we missed out on.

Muschietti spoke to the audience about the legacy of the novel and said, “It’s a great moment to be alive. Because IT is coming back, after all this time.” Alongside Muschietti, King was there in a video message to tell the packed Gaslamp District theater crowd at the screening that he is excited for IT to finally get the recognition it deserves: “IT remains one of my personal works so I’m delighted it’s finally making it to the big screen. Enjoy this exclusive look… if you can.”The author then let the footage do the talking for itself: Clip #1. The first scene reveals six members of the Losers Club, hanging out on a sunny day in Derry. Included at the side of a deep quarry are Jaeden Lieberher’s Bill Denbrough, Finn Wolfhard’s Richie “Trashmouth” Tozier, Jack Dylan Grazer’s Eddie Kaspbrak, Wyatt Oleff’s Stan Uris, and Jeremy Ray Taylor’s Ben Hanscom. The scene pays particular attention to a large letter “H” which has been branded onto Ben’s stomach, which is presumably the work of local bully Henry Bowers (Nicholas Hamilton).

As the boys prepare to jump into the water, Sophia Lillis’ tomboy Bev Marsh arrives as the sixth member of the Losers Club. The kids make the leap into the water and try to forget their troubles as a group of outcasts. When drying off on the rocks, Ben pulls out a history project that he has been working on and looks at the shady history of the town. One of the kids asks why it is all murder and missing children, to which Ben replies: “Derry’s not like any town I’ve ever been in before. They did a study once, and it turns out people die or disappear here at six times the national average.”It is a chilling reminder of the disappearance of Bill’s brother Georgie, but Ben says it gets worse as he promises to show them what else he has found.

Clip #2. Upping the horror from the previous reel, the second scene hones in on the seventh member of the downtrodden group of kids. This time we focus on Chosen Jacobs as Mike Hanlon, who as one of the only black people in the small town, faces more bullying than most – particularly at the hands of Henry.

As a trio of bullies pin Mike to the rocks, we get a chilling glimpse of Bill Skarsgard as the nightmare- inducing Pennywise. As Pennywise waves a hand at Mike, the camera zooms to reveal it isn’t the clown’s hand at all. Instead, we see the dismembered arm of a child that has been ripped off at the elbow. Dripping blood onto the floor, Pennywise has been nibbling at the elbow, with signs of fresh blood smeared around his haunting smile. The evil from the bullies seems to have drawn Pennywise from his lair, but are things about to get worse for Mike? Just as Henry prepares to bring a rock down on Mike’s skull, he is hit by a stone himself and we see the other six Losers standing on the banks of the water.

After a barrage of rocks, the bullies are defeated and the newly- united Losers channel more Stand By Me vibes as they walk down the train tracks. The scene ends with a stuttering Bill turning to Mike: “I guess that’s one th- th- th- thing we all have in common. Welcome to the Losers Club.”Trailer. The audience was then treated to an advanced preview of the movie’s next trailer as one of the boys ominously narrates while we pan over Derry: “When you’re a kid, you think the universe revolves around you.

That you’ll always be protected and cared for. Then, one day, you realize that’s not true.”There is IT‘s typical imagery of red balloons bobbing throughout, as well as the iconic shot of Georgie tumbling down the storm drain and into the clutches of Pennywise. Down in the basement of the Denbrough house, we see a ghostly apparition pretending to be Georgie lurking in the family basement. The entity takes Georgie’s voice and cheerfully says, “If you come with me, you’ll float, too.”Georgie echoes thousands of times over the trailer as we see Richie in a shadowy room full of clown dolls. The dolls turn their faces towards the Loser, but in the middle stands a particularly scary doll. We soon realize that this is Pennywise, who lifts his head and bares a set of razor- sharp teeth. Lunging at Richie, the screen goes black and the trailer ends – thankfully!–Taking over from Tim Curry in the 1.

TV movie, Skarsgard’s portrayal of Pennywise the Dancing Clown looks to amp up the horror from the original, while Muschietti is clearly aiming to make one of King’s best- known books as scary as he possibly can. There is less than a week to go until the trailer officially drops, so we don’t have long to wait until we get to see the horror of the murderous clown floating across our screens. Source: EWKey Release Dates. IT release date: Sep 8, 2.