To say there’s a resurgence of Stephen King adaptations the way some say would make it out like there was a drought of adaptations, which is obviously not the case. The longest gap between adaptations was 1976 to 1980 (Carrie and The Shining respectively) and also 2009 to 2013 (Dolan’s Cadilac and funnily enough, Carrie). We are running through his material at an alarming rate though, as four were made in 2017, and four were made in 2019. And depending on your own opinion, out of the 7 I’ve seen (Doctor Sleep hasn’t been released yet), 6 are great and one is mediocre – and to be fair, Pet Semetery may not be great, but it had some fun stuff.

I logged onto Twitter right at 9am. The first thing I saw was the trailer for The Lighthouse. Cue me screaming and pulling out my laptop in a car and hot-spotting my phone so that I may be here to write about it.

I might add to future thoughts when I arrive home, but this is what we do in the meanwhile.

Let’s see this beautiful thing.

Trailer Week continues!

Also, this is the second trailer to drop today that happens to be a second trailer for their respective film. Or sort of. The last trailer for It was its teaser. This time it seems to be its final trailer. Which is a great choice to not have another one. We don’t need to see more trailers, we just need the film released.

I’m ready to be terrified, are you? Let’s watch the trailer now.

Frankly, I have no idea where this review is going to go until I just dive right in, which to be fair, is exactly how everyone should go into Midsommar.

I can not be alone, but Ari Aster made a hell of a name for themselves last year with Hereditary. I gladly caught it in the theatres three times and have been anxiously anticipating for Midsommar (or a follow-up in general) ever since. He has a clear voice about these bonds that are astonishing to witness.

If you know me, you know that this article was coming. In fact, you all should be surprised it wasn’t already posted by the time this one will be.

Before we even talk about the trailer, let me educate the uninformed. Mike Flanagan is one of my favourite working filmmakers. He understands horror at a core level – and then allows you to empathize with his characters through proper drama. Why do horror films work better than others? Simple, because you care about the characters. The villain or our heroes. In some slasher series (take a stab at any really), by the end of their franchises, it becomes less and less about an on-going hero (with some exceptions), and more and more about a hero. We don’t go to see any Friday The 13th films except to see Jason kill some teenagers. We do go see any of the Scream films, or the recent sequel to 1978’s HalloweenHalloween. I know, names for movies are strange. But that’s what works best with Flanagan. You care about his characters.

I still remember what it was like when I saw Get Out for the first time. I felt how the world was going to shift in its own ways as I shifted in my seat slowly throughout the run time. One thing was for sure, Jordan Peele wasn’t just a comedic genius, he was just a genius. And then we saw him win an Oscar and life was good.