Review: ‘The Boogeyman Delivers More Shocks And CGI Than Dread Or Inconceivable Terror

It must have been thrilling to be a huge horror fan in 1973 and discover The Boogeyman, the story of a frightened newcomer named Stephen King. Expansive, dark, detailed, highly realistic, inspired by childhood fears but steeped in adult nightmares, this is the work of a man who wants to breathe new blood into a timeless form. (It eventually appeared in his first published short story collection, The Night Shift, in 1978.)

However, the 2023 film version of The Boogeyman, after its initially broadcast-only theatrical release, is nothing short of inspiring, a PG-13 dated carefully packaged footage just for the money. A genre well-suited to the highly popular horror paradigm. Shock mechanics, computer graphics, and simplistic psychology override feelings of unimaginable fear or horror.

Granted, Stephen King's practically mediocre film adaptations are practically in a league of their own, and every time interest in doing the right thing on screen wanes, there's a hit—in this case, two brick movies. Critically acclaimed - inspiring new effort. . The Boogieman, directed by Rob Savage and adapted by Mark Heyman, Scott Beck and Brian Woods, was always going to be a difficult film, as its main story was set entirely in a therapist's office. But the resulting expansion falls prey to the most iconic conventions of the modern horror movie; The "opening" narrative often feels like a terrible ending.

After an elegant opening crime scene in the pages of King, we return to the Harper family home, the glorious (and brightly lit) Craftsman duplex where teenager Sadie (Sophie Thatcher) and her younger sister Sawyer live. (Vivien). Lyra Blair is still grieving the loss of her mother in a tragic accident last month. Their therapist father Will (Chris Messina) takes a brave attitude when he sees patients in his home office and pushes the girls into a school routine, where Sadie isn't mean or funny, but it's definitely her dad. Get out of his way and deal with the loss of a daughter or yourself.

Some, however, attract the attention of the girls, especially Sawyer, who feels a terrifying presence in the shadows and sleeps with a large room of light, which, it must be said, is more appropriate to unmask than the security of the director. Child element. Sadie, who doesn't like her mother being portrayed as a ghost, doesn't believe her brother's claim that there is a monster in the house. But while conducting her own investigation with a terrifying stranger (Davit Dastmalchian) after a horrific incident in their home, Sadie realizes that there may be a deadly evil in the house to fight, and because that horror is now as good as evil. Like any superhero movie, it's worth the fights and kills.

Familiarity doesn't always get in the way of skill, and while the boogeyman is in haunted house mode, Savage and cinematographer Eli Bourne handle shots, lighting and shadows with admirable care and patience. , though high jumps can get in the way. A huge sum. But once he turns to monster movies — Beck and Woods' writing staff are the guys in A Quiet Place — the tragic metaphor creeps up the walls and ceilings as quickly as possible, by Harper's. The final race was technically flawless and the actors all played the ride gamely (with the irony of Marine Ireland, who made the most of her two scenes). But it's no longer horror, but a medical drama with a race against time for diagnosis and treatment, and ultimately nothing less than a memorable viewing of King's ultra-efficient and well-defined black hole.

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