The film unfolds over one summer in Derry, a small American town that is cursed. The part of the book dramatised here was set in the late 1950s, but the filmmakers have moved the action forward to the Eighties, the period in which King actually wrote the book.ĭirector Andrés Muschietti (whose only previous feature was the 2013 horror Mama) proves himself equally assured at working with young actors on what is, on one level, a very traditional rites of passage story, and in spilling blood in vast quantities whenever the need arises. King’s novel has already been made for the screen once before, as a TV series with Tim Curry as the demonic clown. Those films in turn often demonstrated a yearning for lost childhoods and times past the dear dead days beyond recall. It harks back to the great Stephen King adaptations of the 1980s, most notably Stand By Me. The film manages the feat of being very evocative and, on occasion, quite terrifying. There’s a double dose of nostalgia in the tremendous new Stephen King adaptation. Wind River is still a very absorbing film to watch – a murder mystery with a strong lyrical and philosophical streak. For the rest of the time, the tone is more meditative than confrontational. When he is on screen, the film develops an edge. James Jordan gives a memorably nasty, self-pitying and creepy performance as the security guard, Pete. Confronting yet another freezing day, Olsen’s FBI agent sighs in exasperation to a colleague: “Didn’t you get the memo that it’s spring.” Renner’s tracker also has a nice line in deadpan irony. He leavens matters with an occasional flickering of humour. There’s something perfunctory, too, about the way he sketches in the details of Lambert’s family life, introducing us only in passing to his wife (from whom he is separated) and his young son. There’s an attraction between the tracker and the FBI agent but Sheridan doesn’t overemphasise it at all. The elegiac music from Nick Cave and Warren Ellis adds to the film’s dreamy, slow motion quality, and to the feeling of sadness and loss with which the story is imbued. Like Hawkeye in Last Of The Mohicans, he relies on stealth, not speed. He does drive his snow bike at speeds of 80 mph or more but that doesn’t mean he is ever in a hurry. ![]() ![]() This means the tempo is on the languid side.
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