Ever since the success of It: Chapter One back in 2017, there’s been a surge of projects being made to adapt various Stephen King novels. Some are new adaptations, like the upcoming Doctor Sleep from Mike Flanagan, while others are revisiting previously adapted works, which is the case for Pet Sematary. The 1989 film was written by King himself and directed by Mary Lambert, and it’s been a long time since I last saw it, but I recall finding it effectively creepy at points. This new take on the 1983 novel is written by Jeff Buhler and directed by Kevin Kölsch and Dennis Widmyer, the duo who made their name with the criminally underseen 2014 horror film, Starry Eyes.
The film follows Louis (Jason Clark), a Boston doctor who has taken a new job in Ludlow, Maine. He takes his wife, Rachel (Amy Seimetz), young daughter, Ellie (Jeté Laurence), even younger son, Gage (Hugo/Lucas Lavoie), as well as their cat, Church, to their new home. However, they find out about a place deep in the forest behind them, called “Pet Sematary” by locals, and beyond that is a burial ground that has the power to bring the dead back to life.
Many have considered Pet Sematary to be among King’s most frightening works, and while I haven’t read it myself, it’s easy to see why. Given his ability to really dive in character psyche and creating a fully lived in history and environment for his characters to navigate, it allows the story’s themes of trauma, guilt, and grief to shine through in a way that hits you in the gut. The idea of bringing back loved ones, be it pets or even a sibling or offspring, is one that many would struggle to grapple with, and applying the horror elements to that scenario offers something that I can easily see resonating on a deep level.
Now, the question is – is that what the movie does? Well, not really. Obviously, I can’t speak for it as an adaptation (though I have become aware of some of the changes), and I don’t remember much of the Lambert film to draw comparison, so everything I say is only discussing the film on its own terms.
The big problem with the film is a rather strange one. It simultaneously feels deliberately slow in its pacing, while also feeling like it’s rushing from one plot point to the next. Despite the feeling that it’s taking its time, the film (which only runs about an hour forty-some minutes) never gets the chance to really linger with the characters in the way it should’ve. The terrible thing about grief is how it sticks with you like gum on your shoe. We see how the characters are informed and changed by trauma and tragedy, particularly with Rachel, who is dealing with serious baggage from the get-go before circumstances put Louis in a similar position. However, it seems like as soon as the film gets its information across, it decides it’s done, and doesn’t really stick with these quiet moments with the characters. It ultimately makes for a somewhat passive viewing experience.
That said, I wouldn’t call it a bad film by any stretch. It helps when you have capable filmmakers behind the camera. The craftsmanship from Kölsch and Widmyer is rock solid. The film has a grim and stylish look, the few moments of gore are gnarly as hell, there’s a some chilling imagery, and they know how to make a moment land for maximum impact, the most important one being the ending, which hit me like a ton of bricks. They do seem held back by a script that isn’t theirs, but their work help keep the movie engaging even during moments where I had little else to latch onto.
Another thing that works in the film’s favor are the performances. The cast assembled here is a pretty strong one, and everyone delivers. The biggest standout was easily Laurence as Ellie, who goes through some very significant changes throughout the story, and Seimetz is always great in everything she’s in. John Lithgow also shows up as the neighbor, Jud, and he’s as reliable as ever. They’re able to mine genuine emotional reactions even as the script insists on moving on, and had there been a lesser cast, this whole thing wouldn’t have worked at all.
So, the new Pet Sematary is ultimately a mixed bag, but I’m leaning positive because I did end up having a pretty good time with it. There are a few dull moments where it would’ve been better served to lean in on the themes of grief and how that dramatically unfolds with the family, but when the movie goes for the scares, it works fairly well thanks to the unflinching direction from the filmmakers and the commitment from the cast. They’re able to elevate some shaky material into something that touches on some deeply troubling ideas and questions that will surely be provoke some interesting conversations once the film is over, even if the film itself doesn’t take the opportunity to dive into these ideas itself. I suppose if you’re more attached to either the original film or the book, you will probably not be as lenient as I am, but if you’re just looking for a bleak little chiller, then this will do the trick, especially with that ending.