His Netflix Deal Is Over. Can Mike Flanagan Save Theatrical Cinema Now?

As a seasoned film critic with over three decades under my belt, I’ve seen my fair share of cinematic masterpieces and forgettable flops alike. Yet, none could quite prepare me for the electrifying energy that filled the Princess of Wales Theater during the Toronto International Film Festival world premiere of Mike Flanagan‘s “The Life of Chuck”. The palpable excitement in the air was akin to being at a Bruce Springsteen concert, where the Boss himself had just taken the stage.

Compared to the high-profile film premieres at award-contending events such as Conclave, Babygirl, and Pedro Almodovar’s The Room Next Door, it might seem that Mike Flanagan’s The Life of Chuck, premiering at the Toronto International Film Festival, wouldn’t create much buzz. However, with a crowd brimming with admirers of both Flanagan and Stephen King, one of the most enthusiastic screenings of this early festival took place, demonstrating an unexpected wave of excitement.

Mike Flanagan, known for his heartfelt horror productions such as “The Haunting of Hill House,” “The Haunting of Bly Manor,” “Midnight Mass,” and “The Fall of the House of Usher” that premiered on Netflix, has been dubbed the ‘horror-with-a-heart guy.’ He’s also recognized for bringing Stephen King’s novels to life, having produced films based on long-awaited King titles like “Gerald’s Game” and the sequel to “The Shining,” titled “Doctor Sleep.” On “The Life of Chuck,” he is collaborating with King once more, adapting the novella of the same name from King’s 2020 collection “If It Bleeds.

From the get-go, the boisterous audience showed immense excitement, responding enthusiastically to Flanagan’s opening remarks and standing up to cheer for King, who was seated next to Mark Hamill and behind Tom Hiddleston at the Princess of Wales Theater. It was evident that over the years, Flanagan’s work in creating shows that seamlessly blend imaginative stage spectacle with heartfelt emotional intensity has garnered him a level of devotion that places him alongside the likes of Buffy and Battlestar Galactica.

In the realm of cinema, The Life of Chuck maintains a distinctly television series-like quality by Mike Flanagan. The plot is intriguing: the coincidence of natural disasters and deteriorating infrastructure leaves people questioning if the end times have arrived, accompanied by a string of mysterious advertisements praising an unknown figure named Chuck (Tom Hiddleston) for “39 great years.” As the story unfolds, there are several significant twists that significantly alter the narrative’s direction — characters unexpectedly connect with each other, and the plot develops or resolves through a series of poignant monologues. Flanagan enthusiasts (including myself, albeit not as expressive as those in attendance on Friday night) recognize this formula, which is part of what makes him such an excellent fit for Stephen King’s works. This tale shares a resemblance to the work of an author nearing the end of his creative journey, pondering the fate of all the people, places, and stories in his mind once he’s no longer present to contemplate them.

As the movie transitions from its eerie start to a more realistic ending, Flanagan managed to keep viewers captivated: roaring with laughter at every joke, no matter how slight; cheering as members of Flanagan’s growing ensemble of recurring actors (Hamill, Karen Gillan, Samantha Sloya, Rahul Kohli, and Katie Siegel, along with several Easter egg vocal appearances) entered the scene. At the film’s midpoint, Hiddleston unexpectedly breaks into a dance routine with his co-star Annalise Basso. They cha-cha, swing, and jazz danced around a poorly concealed backlot set, gathering a crowd for the busking drummer who supplied their rhythm. Although it is not surprising at this stage in his career that Hiddleston can perform, it’s still exhilarating to witness this scene unfold. When it concluded, the already enthusiastic audience burst into applause.

Despite some reservations I had about the movie until its closing moments, the audience’s passion for Flanagan was undeniably strong, making me wonder why he isn’t revitalizing the cinematic experience on a broader scale. My initial thought was to bring this film to multiplexes so that Flanagan’s fans could gather and share an immersive movie-going experience. One might ask, “Why isn’t Mike Flanagan saving traditional cinema?” The answer lies in Netflix. Until quite recently, Netflix had been Flanagan’s primary platform, distributing his films like ‘Hush’ and ‘Gerald’s Game’, as well as airing all his TV series up to ‘Usher’ last year. Through this, Netflix created a dedicated audience for Flanagan’s work, one that was both eager and accustomed to watching it from the comfort of their homes. When Flanagan’s ‘Doctor Sleep’ was released theatrically in 2019, it disappointingly earned just $30 million at the domestic box office.

It’s not unprecedented for news of a Netflix release to lessen the excitement generated by a fantastic screening at TIFF. For instance, Rian Johnson’s Glass Onion had its premiere in the Princess of Wales Theater during TIFF 2022 and left the audience cheering enthusiastically over elements such as Kate Hudson’s costumes and unexpected appearances from Stephen Sondheim and Angela Lansbury. However, Netflix only provided a modest and low-key theatrical release for two weeks before making it available on their streaming service in November.

To put it simply, Flanagan and Netflix are no longer working together. In December 2022, Amazon managed to attract Flanagan and his partner Trevor Macy from Netflix. Although Amazon is another streaming platform, it has a stronger history of releasing films in cinemas. So, it’s possible that movies like The Life of Chuck and future Mike Flanagan productions could draw his passionate fanbase to theaters where they can cheer for Tim Hiddleston’s swift movements in a dark theater filled with strangers (and occasionally Stephen King).

2024-09-07 17:54

His Netflix Deal Is Over. Can Mike Flanagan Save Theatrical Cinema Now?

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