Jim Henson is one of the great creative visionaries of the past century. From the long-standing, highly praised educational program Sesame Street, to the wonderful Labyrinth starring the late David Bowie, to the charming cast of The Muppets, who blur the line between fictitious character and real-world celebrity, Jim Henson’s career is truly underappreciated. Though among his body of work, few of his projects are as unique as his 1982 fantasy film, The Dark Crystal, which Jim Henson himself has called the hardest project he ever worked on. Despite being among the least well-known of the Jim Henson properties, the world of The Dark Crystal has inspired a huge cult following, spawning spin-off novels, comic books, and soon a Netflix prequel series. With this much buzz around the film, and a 35th anniversary screening coming to the O Cinema theater in Wynwood later this month, it’s difficult not to be intrigued by an 80s family film deemed ‘too scary for kids’.
Few films ‘based on true events’ feel as ridiculously over the top as Doug Liman’s American Made (2017). Based on the life of pilot Barry Seal (Tom Cruise), the film follows Barry as he becomes a CIA informant taking photographs of communist rebellion groups in Central America, starts smuggling cocaine for Pablo Escobar’s Medellín Cartel, and subsequently smuggles Russian guns to the Nicaraguan Contras on behalf of the United States Government. Let’s not forget that most of Barry’s bizarre smuggling career took place during then-President Ronald Reagan’s infamous “War on Drugs”. It sounds too comical to be true, and yet the story told by the film is closer to fact than it is to fiction.
When one decides to remake or re-adapt a narrative for the screen, there’s always a question of whether or not the new product will match or surpass the story many hold dear. In the case of Andy Muschietti’s It (2017), not only is the film a worthy successor to the 1990 TV miniseries adaptation of the eponymous Stephen King novel, but it’s an exceptionally good horror film overall. Muschietti, whose only other major film release was 2013’s Mama, manages to distill the primary themes of the first half of Stephen King’s monstrously long narrative on childhood trauma, and present it as a movie which manages to deliver some genuine scares.