So I took a whack at casting IT: Chapter Two. I didn’t just pick a visually-similar A-lister, I tried to think about who would embody the role, build off of what the child actors had developed, and would be obtainable (both schedule-wise and budget-wise)! And of course I added Bill Skarsgård for good measure, even though we all know he’s coming back.
Who would you pick to play the adult Loser’s Club in IT: Chapter Two?
Hey! So I’ll be honest, I’m genuinely surprised it took this long for someone to bring up Jessica Chastain. I totally agree, Jessica Chastain is an incredible actress and would kill as Bev. Also, she’s already worked with director Andrew Muschietti on Mama! That being said, I think Adams is the better choice. First, Chastain is signed on for, not one, but two superhero movies in the next couple of years. If the 2019 rumored release date for IT: Chapter Two is right (and I believe it is) Chastain’s schedule might simply be too packed. On the other hand, Addams’ schedule is pretty much wide open except for a Enchantedsequel, which has still yet to receive an official greenlight despite Alan Menken having meetings over six months ago. Second, I love Chastain, but I think Addams does a better job with really open, raw, emotional roles, and, if they follow the book, that’s the kind of role adult Beverly Marsh is. Pre-ArrivalandZookeeper’s Wife, I would have agreed with you 100%. Finally, not that this matters a ton, but I think Adams looks more like Sophia Lillis than Chastain does.
All that being understood, I’m not going to complain if they cast Chastain. I’ll be fucking ecstatic, because I’m really splitting hairs between two of the strongest actors out there. But I’m gonna give the edge to Adams.
Thanks for replying! I love hears others’ opinions and discussing them!
The Woman in the Window has taken a while to see the light of day. Which is funny, because so has its agoraphobic protagonist. An adaptation of the hit thriller novel by A. J. Finn, its release was penned in by multiple reshoots and a pandemic. Finally releasing on Netflix, the end result sadly has all the hallmarks of a troubled production - be warned, it’s a bit of a mess.
We follow Anna Fox (Amy Adams), an agoraphobic child’s psychiatrist who has a fear of leaving her house. Anna spends her time snooping on the neighbours, but she is spurred into action when she witnesses the murder of Jane Russell (Julianne Moore), a new neighbour she had befriended. But did she really see the murder, or did her anxiety meds make her imagine it all?
Directed by Joe Wright, the film can’t be accused of lacking style. The obvious touchstone here is Hitchcock’s Rear Window, which is referenced in the very first frame. As Anna tries to piece together what she saw, her reliability as a narrator is repeatedly questioned by the police and the Russell family. While we don’t immediately know the cause of Anna’s condition, the oppressive sense of space and sudden camera jolts give you a glimpse into her paranoid mind.
Despite admirable intentions, the attempt to link the film to old-school mystery thrillers never translates and ends up quite laughable (there’s a random splatter of blood during a dream sequence). Adapted by screenwriter Tracey Letts, the film’s uneven pacing prevents it from building up much tension, meaning that some potentially interesting twists never really have the desired impact.
It also lumbers Oscar-level actors with pretty thankless roles. Gary Oldman doesn’t have much to do as Jane’s aggressive husband, Julianne Moore slightly overdoes it as his jittery housewife, while Fred Hechinger struggles to convince as Jane’s peculiar son. Adams probably fares best in nailing Anna’s splintering sense of mind state, but even she can’t save some of the clunky dialogue on display here. This could have been a tense mystery thriller in the mould of Invisible Woman, but instead it’s a film that you’re probably better off not seeing.
With its overwrought performances and messy plotting, The Woman in the Window feels like a TV movie – you wouldn’t want to leave your house to see this.
Actors Shea Whigham, Amy Adams, Jeremy Renner, Elisabeth Rohm, Paul Herman, Alessandro Nivola and Bradley Cooper attend the 19th Annual Critics’ Choice Movie Awards at Barker Hangar on January 16, 2014 in Santa Monica, California.
Actors Shea Whigham, Amy Adams, Jeremy Renner, Elisabeth Rohm, Paul Herman, Alessandro Nivola and Bradley Cooper attend the 19th Annual Critics’ Choice Movie Awards at Barker Hangar on January 16, 2014 in Santa Monica, California.
- Sometimes I think I have felt everything I’m ever gonna feel. And from here on out, I’m not gonna feel anything new. Just lesser versions of what I’ve already felt.
- The past is just a story we tell ourselves.
- I think anybody who falls in love is a freak. It’s a crazy thing to do. It’s kind of like a form of socially acceptable insanity.
- It’s like I’m reading a book… and it’s a book I deeply love. But I’m reading it slowly now. So the words are really far apart and the spaces between the words are almost infinite. I can still feel you… and the words of our story… but it’s in this endless space between the words that I’m finding myself now. It’s a place that’s not of the physical world. It’s where everything else is that I didn’t even know existed. I love you so much. But this is where I am now. And this who I am now. And I need you to let me go. As much as I want to, I can’t live your book any more.
- We are only here briefly, and in this moment I want to allow myself joy.
- It’s how we spend a third of our lives asleep, and maybe that’s the time when we feel the most free.
- I feel like I can be anything with you.
- You know what, I can over think everything and find a million ways to doubt myself. And since Charles left I’ve been really thinking about that part of myself and, I’ve just come to realize that, we’re only here briefly. And while I’m here, I wanna allow myself joy. So fuck it.
- The heart is not like a box that gets filled up; it expands in size the more you love. I’m different from you. This doesn’t make me love you any less. It actually makes me love even more.
