‘Pet Sematary’ Is A Satisfying, Utilitarian Remake

Senior Editor

Pet Sematary is beautifully acted, suspensefully paced, competently staged, and overall is pretty successful at delivering that chilling sense of unease and redolent grossness that the best adaptations of Stephen King’s horror stories do. Yet its departures from the source material and from the previous, 1989 adaptation are lateral moves at best, and its capacity to ultimately deliver on the promise of its premise is middling — though not any more so than in the book or the previous adaptation.

The old knock on Stephen King from critics were that his books were kind of like fast-food hamburgers: unambitious product that you mostly got what you wanted out of, satiating if not especially stimulating. That feels extravagantly unfair to a writer the appeal of whose books seemed to cross all demographic lines, from young to old, rich to poor, highbrow to lowbrow. Everyone read Stephen King. I can remember my father and my juvenile delinquent best friend in middle school discussing the finer points of King’s stories together. I can’t imagine there will ever be another Stephen King, another author so prolific, so commercial, so critic proof, so widely discussed and actually worth discussing, in our lifetimes.

That being said, this Pet Sematary remake seems especially emblematic of that burger analogy. It gives us precisely what we expect — and presumably want — and not a whole lot more.

Jason Clarke plays Louis in this remake, directed by Kevin Kölsch and Dennis Widmyer, scripted by Matt Greenberg. Louis is a Boston doctor taking his wife, Rachel (Amy Seimetz) and two kids, Ellie and Gage, out to Maine where they can escape the rat race, live in a scary farmhouse, and presumably discuss all of Stephen King’s stories being set there. It turns out there’s a creepy pet cemetery on their property, a dangerous road running through it, and only their old salt of a neighbor, Jud (John Lithgow) knows the true secrets of the land.

First and foremost, the casting of this remake is spectacular. John Lithgow is one of our greatest and most underrated living actors, and Jason Clarke and Amy Seimetz, while they might lack some of Lithgow’s playfulness and range, have deep dramatic chops of their own and wonderful horror film faces. Likewise, Kolsch and Widmyer’s ability to stage and manage scenes for suspense and tension is fairly unimpeachable.

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