I first saw Oculus with a few friends in 2014 during its theatrical run. I remember being floored by the control of the timeline and how it all bleeds together as we slowly lose grip on reality just as our characters do in the film. I was so emotionally invested and eventually devastated by the end of the film. I felt a different care in the way the stories and characters were told than I was seeing at the time. I made sure to follow Mike Flanagan’s work over the last decade. 

Flanagan has constantly been able to surprise me since Oculus with each new film or limited series released. With each new release, we’ve seen more and more of his sentiments and worldview. His projects feel like they all can communicate with each other; like they live in similar worlds.

Jane Schoettle said in her opening statement at the premiere that Mike Flanagan may be one of the best genre-working filmmakers today, but he’s also one of my favourite filmmakers, regardless of the genre he’s working in. His recurring fall Netflix release has been a staple for me for the past few years, so I’m excited that this year’s entry is his return to the big screen. As of writing this, even after winning the People’s Choice Award at TIFF, it hasn’t secured distribution, but here’s hoping that will change shortly. 

The Life of Chuck marks Flanagan’s third Stephen King adaptation, each time expertly adapting his material for us to be not only scared, but moved by it also. This couldn’t be more true in Chuck, Flanagan’s most hopeful project by miles. It is life-affirming and a beautiful film. While a lot of his projects might feel and be about dark topics, there is a care to try to find the light, regardless of the situation. This film feels like it’s just the light and hope we hold onto.

The film is told in three chapters and follows Charles Krantz (Tom Hiddleston) through three parts of his life. It is told non-chronologically, as we first see Charles at 39 before we flashback to his younger self as he lived with his grandparents. Along the way, we briefly get to see some of the lives of those he touched and the world he was able to create as he grew up.

Mike introduced the film by giving us a minor Flanagan-esque monologue about appreciating the moments in life while also breaking down the word “enjoy,” and it felt like the most appropriate way to start the film. The film has a big dance sequence between Tom Hiddleston and Annalise Basso, and the film stops and breathes for a moment as we stop to enjoy the music  It’s a great dance that took four days of filming that brought the house down and we felt as if we were levitating for the rest of the film. 

The film does have some of his standard flourishes –  it’s not a horror film but does have a dash of the paranormal. I’m excited to say that this film is a lovely look back at his work so far. It’s because of the care, love, and effort put into his characters that even the darkest of his projects can be hopeful. 

Eben Bolter takes over cinematography duties from Michael Fimognari, but Bolter fits right in and doesn’t miss a beat. Flanagan often likes to work with some of the same cast members, and you’ll see familiar faces and new ones. Karen Gillan gets a beautiful sequence near the film’s beginning alongside Chiwetel Ejiofor. Matthew Lillard is another newcomer but fits right into the film. I feel some of the joy of a Flanagan project is the surprise when one of his recurring cast shows up on the screen, so I’ll say that each gets a wonderful little moment of trying to understand life. Speaking of other repeating friends, The Newton Brothers return to score The Life of Chuck and it again is so light, it adds to the true hopefulness of the film. 

As already reported, the film is dedicated to one of the co-hosts of the Kingcast, and Mike’s friend, Scott Wampler. It’s hard not to think the film had a look over after Wampler’s death as the film tries to understand the weight of loss for someone we care about, or the fear of our death. I feel the film is a lovely tribute to those we’ve lost in a way to remember them, but how they also live amongst our memories and stories. 

Since Chuck feels like just the light in Flanagan’s films, it does not have the scares he’s known for, but they’re coming. It makes sense that he’s stated that his take on The Exorcist is going to be extremely scary after making this film, it’s all about balance in the end. Chuck is an inspiring and hopeful film, but doesn’t shy away from the pain, but it does find a way to move through it. I was able to get a ticket to see it again during the festival at a People’s Choice Award screening, and even knowing where it was going, took my breath away. Thanks, Chuck.