As a lifelong fan of Mike Flanagan’s work and a devotee of Stephen King‘s stories, I found “The Life of Chuck” to be a captivating, if slightly flawed, cinematic experience. The film’s unique structure, divided into reverse acts, kept me on my toes, and the apocalyptic premise was both haunting and darkly humorous.
As I delved deeper into Mike Flanagan’s “The Life of Chuck,” a question from Stephen King’s tale echoed: “Would knowing the answers improve things?” This query, in essence, resonated with the enigmatic and intricate narrative structure of “The Haunting of Bly Manor.” It beautifully captured the theme of accepting life, death, and cosmic mysteries. However, this film unfortunately illustrates this idea in a way that misses the mark, veering between overt literalism that strips it of its most profound emotional impact.
In the tradition of Stephen King’s narrative style, “The Life of Chuck,” one of the four tales in his book “If It Bleeds,” unfolds in an intriguing reverse chronology, with each act narrated by the talented Nick Offerman. The story begins with “Act Three,” a chilling portrayal of a small American town grappling with a failing internet, on the brink of complete shutdown along with television and cell service. Amidst this chaos, climate change has left devastating impacts globally, with California almost submerged in the Pacific Ocean. The bleak scenario is further compounded by soaring suicide rates, leaving local doctor Felicia (played brilliantly by Karen Gillan) struggling to stay afloat. Remarkably, King manages to infuse this grim backdrop with dark and absurdist humor, as Felicia’s former partner, the schoolteacher Marty (Chiwetel Ejiofor), strives to persuade disillusioned parents to continue educating their children despite the circumstances.
In this town, common discussions revolve around recent shocking news events and puzzling billboards, with people expressing gratitude to a well-dressed, spectacled man named Charles “Chuck” Krantz (Tom Hiddleston) for his 39 remarkable years. The question lingers: What is his profession? Is he a doctor, radio host, or local TV personality? There’s no clear answer yet, but this mystery is just one of many puzzles that the movie’s characters – and now the audience – are trying to solve, as they ponder how this apocalypse unfolded. Unlike other movies, “The Life of Chuck” doesn’t rush to provide straightforward answers initially. Instead, it presents meaningful dialogues between Felicia and Marty, who delve not only into the current state of the world but also the very essence of human existence, as society appears to be on its last legs. However, “The Life of Chuck” doesn’t hurry to reveal clear-cut explanations about the apocalypse right away.
In the intriguing, “Twilight Zone”-like narrative, the role of Chuck becomes uncertain when the story shifts to the “Act Two” and later “Act One” sections, which focus on Hiddleston’s character. However, during the film’s midsection, there is an unexpected dance sequence where a disheartened Chuck participates in a street swing dance with a sorrowful young girl named Lauren (Annalise Basso). This seemingly unrelated scene to the initial part of the movie takes place to the rhythm of a busking drummer. Despite its surface-level detachment, this impromptu dance symbolizes beautifully with the gloomy precursor, representing living fully despite regrets.
The setting differs markedly from what one might expect from Flanagan, showcasing a vibrant and optimistic atmosphere that’s unusual for a horror director. However, it’s exceptionally well-constructed, with a cinematic flow and editing style similar to someone who has spent their career producing musicals. Regrettably, the movie’s music fails to match this dynamism or originality, echoing tunes similar to “Interstellar” and “The Social Network,” but without the lasting impression of either.
Towards the end, the movie takes us on a nostalgic journey through Chuck’s childhood, with his grandfather (Mark Hamill) playing a significant role. The narrative weaves in elements of ghostly premonitions and a mysterious, spooky attic, while also exploring the roots of Chuck’s affinity for dance. Revealing too much about its plot would spoil the film, but this final part also subtly references themes that resonate throughout the movie, linking past and present events in a way that adds an element of mystery and wonder.
Regrettably, while beautifully constructed, “The Life of Chuck” doesn’t shy away from fully disclosing its prior enigmatic links between Chuck, Felicia, and Marty. Instead of subtly suggesting these connections through hints or implications, the film insists on interjecting scenes that delve into the intricacies, making it appear overly formulaic and narrow-minded in its explanation. This, in turn, gradually overshadows the movie’s broader themes as it focuses on these explicit reveals.
Before this event unfolds, “The Life of Chuck” is brimming with enjoyable aspects. It skillfully combines extreme tonal changes between horror and raw sentimentality, which unexpectedly align flawlessly. Additionally, it boasts a roster of entertaining secondary characters, portrayed by Flanagan’s frequent collaborators. Despite its grim undertones, there’s an overall refusal to succumb to cynicism. However, any romantic illusions the movie might instill are swiftly shattered when it begins to unveil the unsatisfying logic behind its illusion – until this revelation becomes the trick itself.
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2024-09-08 11:16