As a seasoned gamer with over two decades of gaming under my belt, I’ve seen it all – from pixelated beginnings to the high-definition spectacles we have today. The Life of Chuck, directed by Mike Flanagan, is an interesting addition to the Stephen King adaptations, but it’s not quite the home run I was hoping for.
As a die-hard gamer and Stephen King fan, I wasn’t surprised to see Mike Flanagan yet again diving into King’s universe, having already brought “Gerald’s Game” and “Doctor Sleep” to life on the silver screen. However, his newest venture, the genre-twisting “The Life of Chuck”, feels a bit out of step with what I’d expect from him in this King adaptation journey.
In a positive perspective, the story about the apocalypse unfolding backwards was found within Stephen King’s 2020 book compilation called “If It Bleeds“. Upon receiving an early copy during the initial COVID-19 lockdown, the author Flanagan felt deeply touched by the story’s hidden meaning of cherishing valuable moments amid hardship.
However, despite the film’s successful debut at the Toronto International Film Festival, where its creator was present, it manages to provide a heartwarming experience. Yet, this is achieved by sacrificing the intriguing and ominous foundation that gradually weakens as the plot progresses – in fact, it becomes more watered-down and fragile over time. The final product introduces some surprising elements such as Tom Hiddleston dancing and Mark Hamill portraying a Jewish grandfather (zayde). Fans of Mike Flanagan might decide to hold off for his anticipated adaptation of the The Exorcist series instead.
In this third part of the story, we see the world plunged into a grim scenario marked by both natural and human-made disasters. These include a catastrophic 9.1 magnitude earthquake in California, causing the state to crumble like peeling wallpaper, wildfires ravaging Ohio, widespread flooding across Europe, and a volcano erupting in Germany. Additionally, there’s an unstable internet system that could vanish without warning at any moment.
In the face of an ominous situation that’s fast approaching, a resilient schoolteacher (Chiwetel Ejiofor) and his weary nurse ex-wife (Karen Gillan) are struggling to keep going. They’re also puzzled by the numerous “Thanks Chuck!” messages appearing on billboards, signs, and TV ads, featuring the calm visage of Charles Krantz (Hiddleston), who seems to be celebrating 39 years of accomplishment.
Flanagan skillfully creates an unsettling atmosphere shrouded in suspense, while infusing it with a hint of humor reminiscent of a Wes Anderson film. This establishes a compelling scene that leaves the audience breathless at the end of the act. As the narrative unfolds, we learn that Chuck Krantz, a bank employee, is not what he seems. As Nick Offerman’s voiceover describes, “Krantz dons the armor of accounting,” but just like Christopher Walken in the iconic “Weapon of Choice” video, he unexpectedly bursts into a meticulously planned dance routine with Annalise Basso to the rhythmic beats of a street performer (The Pocket Queen).
Despite appearing somewhat incongruous, the scene becomes enthralling as actor Hiddleston pours his heart into the performance.
Subsequently, we delve into the extensive opening act, where Krantz’s past is unfolded using a Spielberg-like narrative: As a youngster (played by Jacob Tremblay), he was nurtured by his grandparents (Mia Sara and Hamill, who does an admirable Richard Dreyfuss impersonation). His passion for dance emerges during this time, and he becomes fixated on understanding the reason behind the padlock on their Victorian home’s tower room.
As a gamer putting my thoughts together, I’d say: Among the three acts, this one seems to be the least impactful. The more you dive into it, the less captivating it becomes. Just like Anthony Flanagan shows in his Netflix series “The Haunting of Hill House” and “Midnight Mass”, he has a knack for building an eerie vibe that connects each episode seamlessly. However, in this case, “The Life of Chuck” seems to be missing that tonal cohesion. It may leave you with a positive, life-affirming feeling at the end, but that sensation feels fleeting, as temporary as the ghostly apparitions that usually haunt Flanagan’s more powerful ghost stories.
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2024-09-09 03:24