Dr. Louis Creed and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home.
With dreams of a better life, the young doctor, Louis Creed, and his family--his wife, Rachel, their daughter, Ellie, and their three-year-old toddler, Gage--move to their new home in the small rural town of Ludlow, Maine, alarmingly close to a busy highway. However, when Rachel's cherished tomcat is inadvertently killed in an awful accident, a desperate Louis will reluctantly take his friendly neighbour's advice to bury it in an ancient Micmac graveyard--a mystical burial ground imbued with reanimating powers. Despite the terrible results and the insistent warnings from a recently deceased, tragedy-stricken Louis is forced to go back to the Indian cemetery, hoping that, this time, things will be different. But, can the dead return from the grave?Written by
(at around 5 mins) When the family first arrives and Gage walks to the back of the station wagon to see their cat Church, his bowl is on the right side of the carrier in front of him. In the next shot of Church in the carrier (immediately after they show Gage's face looking at him), the bowl is on the left side, behind the cat. See more »
Broken Hearted Child 1:
[the voices of broken hearted children burying their pets at the Pet Sematary, voice-over]
Bye, old Shep. See you in heaven. Yeah?
Broken Hearted Child 2:
This is where my kitty lays. No more he screams and hollers.
Broken Hearted Child 3:
He lived for 5 and 20 days. He cost me $50.
Spot - A good fella. We love you.
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Television censors of some of the films gorier moments included alternate shots from different angles that hide the more graphic images. This especially came into play with the Timmy Baterman scenes and the films finale in the Creed's kitchen. See more »
one of King's creepiest, bone-curdling stories amid decent film-making
In the trivia section for Pet Sematary, it mentions that George Romero (director of two Stephen King stories, Creepshow and The Dark Half) was set to direct and then pulled out. One wonders what he would've brought to the film, as the director Mary Lambert, while not really a bad director, doesn't really bring that much imagination to this adaptation of King's novel, of which he wrote the screenplay. There are of course some very effective, grotesquely surreal scenes (mainly involving the sister Zelda, likely more of a creep-out for kids if they see the film), and the casting in some of the roles is dead-perfect. But something feels missing at times, some sort of style that could correspond with the unmistakably King-like atmosphere, which is in this case about as morbid as you're going to get without incestuous cannibals rising from the graves being thrown in (who knows if he'll save that for his final novel...)
As mentioned though, some of the casting is terrific, notably Miko Hughes as Gage Creed, the little boy who goes from being one of the cutest little kids this side of an 80's horror movie, to being a little monster (I say that as a compliment, of course, especially in scenes brandishing a certain scalpel). And there is also a juicy supporting role for Fred Gwynne of the Munsters, who plays this old, secretive man with the right notes of under-playing and doom in tone. And applause goes to whomever did the make-up on Andrew Hubatsek. But there are some other flaws though in the other casting; Dale Midkiff is good, not great, as the conflicted, disturbed father figure Creed, and his daughter Ellie is played by an actress that just didn't work for me at all.
In terms of setting up some chilling set-pieces, only a couple really stand-out: a certain plot-thickening moment (not to spoil, it does involve a cool Ramones song), and the first visit to the pet sematary (the bigger one), including the sort of mystical overtones King had in the Shining. For the most part it's a very polished directing job, though it could've been made even darker to correspond with the script. If thought out in logical terms (albeit in King terms) it is really one of his more effective works of the period. But it doesn't add up like it could, or should. Still, it makes for a nifty little midnight movie.
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