‘Your hair like winter fire,

January embers,

My heart burns there, too.’

‘We all float down here.’

‘Hey, Richie! I f**ked your mother.’

Aw, man. I paid fourteen bucks for this movie, lol. I thought Bill Skarsgard was terrific once more in his role of the supremely evil Pennywise the Dancing Clown, but the rest of the really long and convoluted horror film seemed a bit messy to me.

It’s twenty-seven years since the kids from the original movie defeated Pennywise for the first time, and now the clown is back- he returns cyclically every twenty-seven years, for whatever reason- to wreak havoc upon the township of Derry once more. He is helped in his fiendish doings by a particularly nasty homophobic attack at the start of the film, which sees a bunch of local thugs unwittingly providing Pennywise with one of his first victims this time round.

Mike Hanlon, because he’s chosen to live in Derry his whole life, is the member of the original gang of kids charged with the responsibility of dragging the unwilling group back to Derry to grapple with Pennywise again. See how fast they come running, lol.

There isn’t a one of ’em happy to be returning to the place where they made a blood oath twenty-seven years ago, an oath to come back to Derry if Pennywise ever reared his ugly head again. Well, guess what? The clown’s back and he’s playing dirtier than ever.

Mike knows that the only way to put Jack back in his Box is to get the old crowd together again. It’s a bit like, erm, we’re putting the band back together, man, only no band re-union ever made a member commit actual suicide at the mere prospect, as far as I know.

Accountant Stanley Uris, one of the original Losers’ Club, is found dead in his bathful of blood, a razor dangling from his lifeless fingers, shortly after receiving the call from Mike, the town librarian in Derry. Yeah, Mike’s a bit of a buzzkill, to be honest. He’s the one guy you don’t want ringing you up with an invitation.

Anyway, back they all come, the rest of the gang, to good old Derry. There’s drippy Beverley Marsh, whose adult self is made to look a lot like Bryce Dallas Howard’s Aunt Claire from the Jurassic World franchise. Rather confusingly, I thought. There are other looks for women to go around, you know, film-makers, not just the one.

Anyway, Beverley, now a household name as a fashion designer, has swapped one form of imprisonment for another, by exchanging her physically and sexually abusive father for a horribly violent husband. In fact, there’s quite a disturbing scene of domestic violence near the start of the film where this excuse for a man attacks her brutally, just for taking a phone call from Bill Denbrough, one of the gang.

Beverley holds a torch for Bill, now married and a successful mystery novelist, one of whose books is currently being made into a film, because she thinks it was he who sent her a soppy love poem when they were both in high school together.

Bill, by the way, is also the older brother of sweet little Georgie, who was abducted and murdered by Pennywise in the first instalment of the two-parter. Remember the boy in the yellow rain slicker, as the ‘Muricans call it, holding the red balloon on the posters? That’s L’il Georgie.

Bill has been haunted by guilt over Georgie’s death for twenty-seven years. Scared as they all are, he must be itching to get another crack at the clown who killed his little brother. Maybe killing Pennywise once and for all will stop the terrible guilt he carries with him every day.

The bespectacled Richie Tozier, a foul-mouthed loudmouth of a kid, has become a foul-mouthed loudmouth of an adult, only now he’s putting his big fat mouth to good, and no doubt lucrative, use as a successful stand-up comic.

His former sparring partner, hypochondriac Eddie Kaspbrak, is back now too, looking a lot like Steve Carrell from the American version of ‘The Office,’ and the pair resume their love-hate relationship that consists mainly of really lame ‘Yo’ Mamma’ jokes. The ‘humour’ in the film is pretty awful. It really drags it down. Eddie is now a risk assessor and has married a woman too like his over-protective mother for it to be a coincidence.

The formerly tubby Ben Hanscom has become the handsome rich architect Ben Hanscom, and that’s about it. Beverley has a thing for Bill, but surely she won’t fail to notice heart-throb Ben? Bill is married, after all, and I’m sure she doesn’t want to be a little home-wrecker. Or does she? She’s married herself too, after all. Although, in all fairness, her husband is an abusive prick and the sooner she divorces his sorry ass, the better it’ll be for her.

Anyway, the chess pieces are all back on the board and ready to rock and roll. Now to kill Pennywise, using an ancient Native American Indian ritual painstakingly researched by Mike. Shame to waste it, certainly. Down, down, down into the murky sewers they go. Twenty-seven years ago, here they come…!

I’m not crazy about the ‘Killing Pennywise’ bit. That part of the movie seems more like a combination action-adventure-fantasy film than a true horror movie, and even the music in this bit is more like something you’d hear in a big Steven Spielberg Christmas blockbuster-type film than anything else. It just didn’t seem to fit the horror written in the great man’s book and now transported to the big screen.

I must point out that the gang of kids-now-adults have the run of the place at the Derry townhouse. No staff man the hotel whatsoever, neither do other patrons frequent it. Ditto Mike’s library, and, to be honest with you, most of the township of Derry as well. It felt a bit like only the main actors and no-one else was allowed to use the admittedly very impressive sets that were built for the film. I’m sure their massive budget allowed for extras, so where were they?

My favourite bit of the film was Stephen King’s cameo as a cantankerous old second-hand store owner, and the only part that scared me, in an otherwise unscary film littered with CGI boogeymen and too many darn flashbacks, was the bit in Beverley’s old house with Mrs. Kersh, the old lady. And not the old lady as a CGI streaker but purely as her human self. There’s something about really old ladies that scares people, which is why they pop up so often in horror movies.

You know, there’s talk of a ‘three-quel’ to this franchise, that would have to be written from scratch as the book has already been filmed in its entirety. I’ll watch it if and when it comes out, because obviously I, like everyone else on the planet right now, have a massive case of FOMO (fear of missing out), but I won’t be happy about it.


Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

You can contact Sandra at:





‘Sometimes dead is better…

With a re-make of this film in cinemas fairly soon, I thought it might be a good time to re-visit it. It’s based on one of horror maestro Stephen King’s best books, and I hope I’m not alone in thinking this. It’d be right up there with THE SHINING, a tale of madness and ghostly visitations set in an isolated hotel that’s closed to the public in the winter, and SALEM’S LOT, possibly the best vampire novel of modern times. (Yes, yes, I’m aware of the works of Pablo Neruda, by which I mean Anne Rice…!)

CARRIE, the maestro’s first book, was also a terrific read and made a great film, starring Sissy Spacek as the telekinetic high school outsider who wreaks a terrible revenge on the teenagers who’ve made her life a misery, and who could blame her? They were proper little bitches to her, lol. They had it coming.

There are loads of other brilliant Stephen King books, short stories and novellas that were made into films too, like MISERY, DOLORES CLAIBORNE, MAXIMUM OVERDRIVE, THE LANGOLIERS, BAG OF BONES (a personal favourite starring the swoonsome pairing of Pierce 007 Brosnan and Melissa George from Antipodean soap opera HOME AND AWAY), THE DARK HALF, THINNER, CUJO, CHILDREN OF THE CORN, IT, THE SHAWSHANK REDEMPTION, STAND BY ME, SECRET WINDOW, SECRET GARDEN, THE STAND (which I adored), THE MIST (with the saddest ending of any horror film ever, bar none) and probably a few more which I’ve forgotten. You can remind me if you like!

He’s had a career to be super-proud of, anyway, the King, probably the most commercially successful career of any writer who ever lived, God bless him. If anything ever happens to him, and we hope nothing will (I’m personally hoping he might be immortal!), he’ll be leaving behind millions of devastated fans, that’s for sure. Yes, we have plenty of talented horror scribes writing away today, and that’s great, but there can never be another Stephen King.

Anyway, PET SEMATARY is the story of a small family from Chicago who move to a lovely big house in a small American town in Maine. The Dad, Louis Creed, is going to work as the town’s doctor. His wife Rachel is strangely uptight, but then she had a really rough childhood.

She still keeps in touch with her parents, whom she seems to love, but her childhood experiences with her sick sister Zelda were truly the stuff of nightmares. It’s jolly decent of her to still maintain a relationship with her parents after the way they left her alone, at her age, with the dying girl. It was irresponsible of them at best, and cruel beyond belief at worst.

Louis and Rachel have two children, Ellie and Gage. Ellie is a little girl who’s got a bit of a ‘shining’ thing going on, or even a ‘shinning,’ if you’re a fan of THE SIMPSONS. She has disturbing, distressing dreams that accurately predict the future, although her parents don’t take her seriously at first. There’s also the aforementioned Gage, their adorable little baby son, and a cat rather coolly called Winston Churchill. That’s the Creed family, anyway.

Now, they don’t seem to realise that they’ve purchased a property that has no fencing around it and that gives on to the most dangerous road in the whole of the Western hemisphere. Trucks and lorries tear up and down this road day and night, and nearly the whole of the town’s population of cats and dogs has ended up as roadkill beneath the wheels of these diesel-guzzling monsters.

The Creeds’ new neighbour, the lovely old widower Judd Crandall, leads them down a worn woodland path on their property to a clearing known as the ‘Pet Sematary.’ It’s a place of burial for all the beloved pets of the town’s children.

I presume they were all killed prematurely trying to cross that damned road, lol. Anyway, it’s at least handy to know that there’s a place to bury old Church the kitty if he ever decides to get to the root of the old joke, why did the chicken cross the road…? It’s meant to be a place of peace and rest but it’s a wee bit creepy too.

Things get much creepier when Church in fact does get run over while Rachel, Ellie and Gage are away at Rachel’s parents for Thanksgiving, leaving Louis in charge of the house. Well, that’s what you get for leaving a man to hold the fort. Remember that auld fella from FATHER TED who tried to make a cup of tea and he ended up breaking his leg? That’s the kind of thing you’re up against.

Old Judd Crandall decides that this is the time to let a stunned Louis into a secret he’s known about for years, a secret about the strange little place in the woods the kids call the ‘Pet Sematary.’ It’s the original ‘Indian burial ground’ horror story. 

What happens after Louis becomes privy to the secret of Pet Sematary is so nightmarish, I won’t ruin it for you by dropping spoilers. Suffice it to say that Louis actually feels he’s in a nightmare from this point onwards, a nightmare from which he can’t wake up.

Stephen King makes his usual cameo appearance as the minister who presides over the funeral of the poor miserable Missy, and very handsome he looks too, with a full healthy head of thick black hair. What’s your favourite Stephen King cameo? The one in MAXIMUM OVERDRIVE where he says to his wife of the cash machine that’s behaving erratically: ‘Honey, the machine just called me an asshole…!’ Yeah, mine too!

The ghastly supernatural appearances of the decidedly dead Victor Pascow seem to make little sense at first but gradually his true purpose becomes all too clear. I love the bit where Louis wakes up in his bed after having a nightmare where he’s following a mutilated Victor through the woods and, when he wakes up, his legs and feet are covered in muck and debris. I love Victor’s dire warnings about how ‘the barrier’ shouldn’t be ‘crossed’ because ‘the ground is sour.’ It’s blood-chilling stuff.

The terrible story of poor old Timmy Baterman is a great addition to the movie also. The film as a whole, like the old cautionary story of ‘The Monkey’s Paw,’ proves without a doubt the truth of the adage: ‘Be careful what you wish for.’ And Judd Crandall (played by Fred Gwynne, Herman Munster from THE MUNSTERS) is right too, dead right, when he intones to Louis in sombre tones that ‘Sometimes dead is better.’

The thing is, will Louis take his wise old neighbour’s advice? Louis Creed is young and hot-headed and he still thinks he knows what’s best for his family. He doesn’t respect the old adages, which are there for a reason, to guard us against the urges of our less-than-better natures. He’ll have to learn the hard way so, and learn he must.

Oh and, by the way, before I watched this movie I didn’t realise that the word ‘Sematary’ was a deliberate childish mis-spelling on the part of Stephen King, I thought it was how the Yanks spelled the word. D’oh…!

Do try to watch or re-watch this old gem before you catch the re-make in the cinema next month, just to give you something to compare the newbie to. And always remember to be careful what you wish for, just like poor Louis Creed isn’t careful. And why be careful? Because you just might get it, that’s why…


Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

You can contact Sandra at: