When Harrigan then dies, his addiction to his new phone extends beyond the grave, with Craig still receiving calls and cryptic texts.
Over the years the pair become closer and when Craig gets some money of his own, he treats Mr Harrigan to his first iPhone. He’s taking us back, via voiceover, through his relationship with local millionaire Mr Harrigan (Donald Sutherland), who hired him as a kid to read out loud as his sight disintegrated. In a hope to sway some of the millions who made It: Chapter One the most commercially successful King adaptation of all time (it made a still rather staggering $700m worldwide), star Jaeden Martell is recruited as head kid again, this time playing Craig, a teen living with his father in a small town in Maine. Too silly to be an involving drama and too subdued to be a creepy horror. It’s stuck in that awkward place between two well-trodden King subgenres: small-town coming-of-age and small-town supernatural, never quite connecting as either.
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Recently, we’ve shrugged our way through Pablo Larraín’s visually arresting yet otherwise uninteresting Apple series Lisey’s Story, the dull Adrien Brody-led Chapelwaite based on Jerusalem’s Lot, a damp remake of Firestarter (a story that was never that interesting to begin with) and now, a thinly plotted 88-page short story becomes a bloated 106-minute Netflix movie, a competently made yet utterly inconsequential pre-Halloween time-waster.
It’s that desperate post-It scrape of the large barrel of stories he’s written, studios searching for third- and fourth-tier books to be dragged to the screen, an ungainly process that only serves to highlight the author’s weakest spots. The mostly quiet adaptation of Stephen King novella Mr Harrigan’s Phone is underscored by a distracting and familiar sound.
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