‘Pet Sematary’ Should Have Been Left Alone

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Stephen King’s Pet Sematary remake just hit the theatres, and it’s most likely not going to get people to recommend it to their horror-loving peers. 

King’s Pet Sematary remains to be one of his best works that’s truly dark, twisted and has been adapted into movies twice.

The 2019 adaptation is better than the 1989 version. Bad news, it didn’t improve that much based on the shallow bar that the movie before it has set.

The beauty of King’s Pet Sematary is the foreboding dark and twisted story that it tells. Other than being a just a horror movie, it shows a much more profound story of pain and agony.

The novel, Pet Sematary, is a metaphor of how people see and react to pain and loss. It’s also a story representation of how far and at what costs people would go to make for the pain to go away. In this case, how a father would feel when he loses a son, and would instead choose to make him breathe again with disregard to whatever consequence it may bring.

Overall, it’s a dark and twisted narrative that’s deeply rooted in mourning and pain. It’s a sad horror movie that the novel was so adept to not only cause a particular type of fear but also of regret. 

Pet Sematary is an antecedent scenario to questions about accepting life’s most brutal circumstance: death. The novel was the imagination brought to words that speaks something about how we will deny life’s tragedies and why it’s so hard to accept it.

That’s where the 2019 Pet Sematary lacked. It failed to bring forth the emotional baggage that came along with the novel, which is the essential storyline. Think about Babadook or Lights Out, movies that both originate from feelings of loss and pain. 

The movie followed the original “to get away from it all” plot where a doctor, Louis Creed (Jason Clarke), moves with his wife, Rachel (Amy Seimetz), to a small town in Maine with their two young children, Ellie (Jeté Laurence) and Gage (Hugo and Lucas Lavoie), and along with the family cat, Church. The family is seeking some peace and quiet; Louis tired from working the graveyard shift at a Boston emergency room; and Mary still haunted from her sister’s long-ago death and, apparently, also traumatized from being alone in an empty house.

They’re quite the happy and perky type of family, which is expertly balanced off by the eeriness and the gloominess of the small town.

They decided to live in a house near the road where they supposed to be the new place of tranquility is often disturbed by zooming tractor trailers, but the most troubling part was the odd pet cemetery at their backyard that the old town used to bury their fuzzy animal best friends.

It continues to follow the original storyline from the novel where Louis decides to bury his daughter in the pet cemetery after her untimely death because of one google search that the cemetery does bring pets back to life, so why not try it with my daughter? 

However, the movie oddly follows a quick storyline that’s just too fast to pace the emotions that the novel wanted to impart. Instead, they are replaced by the blunt attempts to make the movie seem creepy and create an atmosphere of looming danger through kids parading in the forest with masks on or the scary person that stares at them through a window.

There’s no sense of unreasonable and irrational fear that makes you clutch on to your seat, cover your eyes, or make your heart beat faster. There’s the typical jump scares, but nothing new.

The movie is terrible because it failed to deliver a kind of suspense that would help it to develop the fear that resonates through the viewers. I didn’t tell myself never to move anywhere near a pet cemetery or any cemetery or never to move at all. I just wanted things to get over with.

In contrast, the exciting trailer fell flat with a rather lame approach to the climax, which wasn’t that scary either; not precisely the kind of remark you would want to hear from a King novel. Moreover, Pet Sematary failed to bring emotions that the book initially brought.

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