Pet Semetary (2019) - Fighting the Source Material

The 2019 remake (directed by Kevin Kölsch) of Stephen King's Pet Sematary makes a huge change to the source material. Whilst this could have been interesting, it instead has the film deflating like a red balloon, and this aspect overshadows some of the better decisions the film makes.

Pet Sematary follows the story of Louis Creed (Jason Clarke), whose family have moved to Maine (it is a Stephen King story, after all) for his work. Their house is close enough to a main road that they lose their cat. A neighbour (Jud, played by John Lithgow) informs them of the strange power of the nearby Pet Sematary, which sets into motion a devastating cycle.

Unfortunately, we need to discuss spoilers to discuss this version of King's story. Firstly, a good change: Louis' wife Rachel (Amy Seimetz) is psychologically haunted by her late older sister, Zelda (Alyssa Brooke Levine), who suffered with meningitis. The original Zelda (played by Andrew Hubatsek) terrified audiences, which in turn led to criticism for ableism and 'hagsploitation.' This Zelda is more sympathetic, and the film takes the time to explore Rachel's guilt and mixed emotions in more depth. This adds a much needed complexity to the subplot. Similarly, the use of the re-animated Church adds a much needed explanation of how the accident happens, and makes the cat a much more threatening idea.

The other change is less positive and more reductive. Instead of toddler Gage (Lucas Lavoie) being hit by the truck, it's nine year old Ellie (Jeté Laurence). Initially, this change seems interesting, however it quickly takes a downhill turn. Ellie is little more than a less imposing Reagan from the Exorcist, and the little girl saying 'scary' things about hell and dying becomes more cringey than the killer toddler in the original. It becomes eye-rolling, instead of chilling. Whilst the original could be cheesey, this version takes itself much too seriously.

Furthermore, the difference in ending undermines the initial dread of the original's cliffhanger. This rendition throughs out the stomach churning realisation that Louis has not, and will not, learn his lesson about the Sematary, and will continue his desperate cycle, in terms of a zombie family. It defangs the true darkness of King's original story without understanding why it was so haunting in the first place.

In contrast, the film tries to marry into the source material by highlighting the presence of the Wendigo, which, again, feels like a mistake. The Wendigo is a controversial creature in horror, with a lot of debate on depiction and by whom. By trying to keep this, it falls into an acknowledgement of the less enjoyed aspects of older King works, and draws more debate than is needed. Compared to the original, no explanation of the Sematary is cleaner for the plot and scarier to the viewer: the less explained, the better.

Other than the changes, there is very little to say about the remake. The film-making is competent enough, and the performances serving the script. However, the changes it makes only serves to show why it should have stayed buried for good.