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It
Movie

It

2017 • Horror

Woke Score
3
out of 10

Plot

In the Town of Derry, the local kids are disappearing one by one. In a place known as 'The Barrens', a group of seven kids are united by their horrifying and strange encounters with an evil clown and their determination to kill It.

Overall Series Review

The film focuses on the archetypal journey of a group of misfits facing their personal traumas and shared fears, which are then personified by the demonic clown. The narrative structure emphasizes friendship, courage, and standing up to bullies, both human and supernatural. The story’s conflict is driven by character-specific issues—such as loss, overbearing parents, and physical abuse—not by a larger social or political commentary on privilege or systemic oppression. The town of Derry is depicted as fundamentally corrupted, which serves as a necessary backdrop for the horror elements. The sole female member, Beverly Marsh, is portrayed as strong but is ultimately placed in a damsel role in the climax, a narrative choice that runs counter to modern 'Girl Boss' tropes. Explicit themes of sexual or gender identity ideology are entirely absent, and the religious elements are minimal and mostly used to illustrate a character's personal anxiety.

Categorical Breakdown

Identity Politics2/10

Characters are defined by their personal fears and outcast status, such as being a stutterer, a hypochondriac, or having an abusive parent, rather than their immutable characteristics. The Losers' Club is naturally diverse by circumstance, including an African-American and a Jewish member, but their merit within the group is based purely on their individual courage and loyalty. There is no political lecturing on privilege or intersectional hierarchy in the plot, and the casting is not a historical 'race-swapping' for the sake of diversity.

Oikophobia6/10

The town of Derry is not portrayed as a place of traditional American virtue; it is explicitly framed as corrupt, complicit, and morally sick. The adults are either abusive, neglectful, or apathetic to the rampant evil and disappearing children. The community's institutions are broken and seem to enable the monster's periodic feeding cycles, implying that the 'home culture' is rotten at its foundation. The enemy is literally an ancient cosmic entity, not an invading force, placing the source of evil firmly within the town itself.

Feminism3/10

Beverly Marsh, the only girl in the group, is initially portrayed as a self-reliant character who stands up to bullies and abuse, but the climax reduces her to a 'damsel in distress' state. She is kidnapped and placed into a trance, requiring rescue and a 'non-consensual kiss' from one of the male leads to be revived. This narrative device directly subverts the 'Girl Boss' trope, relying on the male characters' actions for her salvation. She is also subjected to a scene that focuses on male gaze and is bullied with a 'slut' label, further moving the narrative away from a modern, empowering feminist portrayal.

LGBTQ+1/10

The core of the narrative focuses exclusively on traditional relationships, particularly the heterosexual first-crush dynamic between Beverly and two of the boys. Alternative sexualities and gender ideology are not present as explicit themes, plot points, or discussions among the children. The structure is entirely normative and private concerning sex and gender, adhering to the standard presentation of a 1980s childhood in a small American town.

Anti-Theism4/10

Organized religion is present only incidentally, primarily through Stan Uris and his tense relationship with his Rabbi father, which frames the faith institution as a source of anxiety and pressure rather than strength. There is a general feeling that the traditional adult structure, including potential religious elements, offers no protection and is a major part of the town's corruption. However, the film avoids making overt anti-Christian statements or depicting clergy as villains, instead focusing the true evil on a non-traditional, secular/cosmic monster.