Review: Julianne Moore shines in an otherwise murky Stephen King adaptation.
play her sisters, Darla and Amanda. It’s a stacked cast working their darndest to make sense of King’s elusive mythology, grooving on the high melodrama but getting bogged down in stretches of exposition.is about, or rather how it’s about what it’s about.
In that lore, King explores themes of grief and trauma, familiar subject matter for prestige television. But the methodology ofputs us at a considerable distance; the first four or so episodes are stuffed with inscrutable imagery and terminology . Larraín’s fluid style and’s exquisite cinematography make for some lovely images, but that is often the extent of the show’s impact. It’s an arresting visual and aural assault, in service of a convoluted, navel gazing narrative.
Julianne Moore is certainly a great hero to follow on a quest. Here she gets to tap into the bite and fury that has animated some of her best work, particularly her fiery, nervous turn inis a great showcase for Moore’s edgier side, all that flinty, elegant prickle that has been softened in many of her latter day roles. She and Owen don’t have much chemistry, which is strange considering their easy flow in.
And, oh, is there physical pain. Fingers are broken, hands cut and shot. A pizza cutter is given a brutal application in one harrowing scene. No longer hampered by the mores of network television, which used to produce miniseries based on his books all the time, King leans into his darkest impulses. While much of that gruesomeness is, yes, in service of King’s grand themes, it all starts to feel extraneous, a relentless wallow in misery rather than necessary shock.
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