The Boogeyman preys upon the deepest primal fears we have as children. There’s a hideous monster under the bed. It lurks in wait for the right moment to snatch you. Or maybe it’s hiding in a dark closet, licking its claws in anticipation of a tasty snack. The film adaptation of Stephen King’s classic ’70s short story held promise. Menacing cinematography and clever editing sets the stage for atmospheric scares. But the terror fizzles badly with rote and predictable genre tropes. If only the script crafted smart and believable characters that acted sensibly in threatening situations.
Psychiatrist Will Harper (Chris Messina) sits in his home office listening to a patient’s sorrows. He gives words of encouragement before a tender hug goodbye. Will faces his own aching chasm of grief. Today is the first day back at school for his daughters after their mother’s tragic death in a car accident. He internalizes pain while teenaged Sadie (Sophie Thatcher) expresses hers openly. Young Sawyer (Vivien Lyra Blair) is stuck in the middle.
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Will drops Sadie off to whispered condolences and awkward stares. She wears headphones to block the outside world. A visit to her locker reveals a packed lunch with a sweet note. The last message from her dear mother written on a rotting bag. Her bestie (Madison Hu) offers encouragement, but the mean girls’ clique aren’t exactly supportive.
David Dastmalchian as Lester Billings
20th Century Studios
Back at the house, Will receives a strange visitor. The broken Lester Billings (David Dastmalchian) desperately needs help. Will grows uneasy as Lester recounts the mysterious deaths of his three children. The infant was first. Then the others followed in ghastly succession. He didn’t believe their frightening accounts of a “shadow monster.” Now everyone thinks that he murdered them. Will makes an excuse to call for help. He returns to find his office empty and loud noises upstairs. Will doesn’t realize that Sadie left school and came home.
Sawyer has a ball-shaped nightlight. She keeps it on her bed and under the covers while sleeping. It creates a focal point around her while the room is inky black. She hears the slow creak of her closet door open. She sees a faint pair of eyes staring back at her. There’s no definition, but something is definitely present. Director Rob Savage (Host, Dashcam) uses darkness and light to successfully build tension. A similar scheme continues throughout the film with candles, cell phones, and video games. There’s no immediate monster payoff. Your imagination fills in the void until the Boogeyman strikes.
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No one behaves logically after a strong open. Why would a parent allow a terrified child to sleep in a room by herself? This is patently absurd in the wake of Sawyer’s mother dying and actual physical injuries becoming present. Were no nanny cams available at Walmart or Amazon? It’s even more ridiculous as Sadie traipses solo into haunted houses and basements. No teenage girl with an ounce of self-preservation would engage in such dangerous activities. Willing suspension of disbelief can only go so far. A contrived situation isn’t scary.
The Boogeyman Stokes Visceral Reactions
Kids get hurt in this film. It’s done to stoke visceral reactions and achieves that goal. Violence against children can be inferred, but for some, its depiction in The Boogeyman will be a big mistake and display the filmmakers’ lack of good judgment. The film ultimately disappoints by turning legitimate psychological fear into a stale horror retread.
The Boogeyman is a production of 21 Laps Entertainment and TSG Entertainment. It will have a June 2nd theatrical release from 20th Century Studios.
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