A woman tries to exonerate her brother, who was convicted of murder, by proving that the crime was committed by a supernatural phenomenon.
Washed-up true-crime writer Ellison Oswalt finds a box of super 8 home movies that suggest the murder he is currently researching is the work of a serial killer whose work dates back to the s. Hoping to walk away with a massive fortune, a trio of thieves break into the house of a blind man who isn't as helpless as he seems. A deaf writer who retreated into the woods to live a solitary life must fight for her life in silence when a masked killer appears at her window. Two siblings become increasingly frightened by their grandparents' disturbing behavior while visiting them on vacation.
A family looks to prevent evil spirits from trapping their comatose child in a realm called The Further. Greta is a young American woman who takes a job as a nanny in a remote English village, only to discover that the family's 8-year-old is a life-sized doll that the parents care for just like a real boy, as a way to cope with the death of their actual son 20 years prior. After violating a list of strict rules, a series of disturbing and inexplicable events bring Greta's worst nightmare to life, leading her to believe that the doll is actually alive.
Written by STX Entertainment. When you're crazy, do you know you're crazy?
These are some of the questions you'll be asking about more than one character in the horror thriller "The Boy" PG, 1: But you'll soon find out that insanity is only one possible explanation for the unusual behavior of various characters and the many strange happenings throughout this very entertaining film. Greta Evans Lauren Cohan is a young Montana woman around 30 who is restarting her life. To escape an abusive relationship with her former boyfriend, Cole Ben Robson , she doesn't just leave him — she leaves the country.
Greta gets hired as a nanny a job she's never done before by the wealthy Mr. Heelshire Jim Norton and Diana Hardcastle , an eccentric older couple living in a big, isolated house in the English countryside. Unusual stuff, but things definitely move to weird-slash-creepy when Greta first sets eyes on her young charge. The "boy" that Greta is supposed to care for turns out to be a marionette-like porcelain doll.
Greta thinks it's all a joke, but the Heelshires aren't laughing. They lost their son, Brahms Jett Klyne , in a house fire on the boy's 8th birthday. They coped with their loss by starting to care for a doll which looks like their son and is about the size of an 8-year-old boy.
They've been calling this doll "Brahms" and treating him like a real boy for about 20 years. Now, it's Greta's turn. After giving Greta detailed instructions regarding Brahms' care and leaving her with a clipboard containing a list of ten rules and whispering a cryptic "I'm very sorry" as they head out the door , the Heelshires drive away for their first vacation in "a very long time. Her only contacts with the outside world are her friend, Sandy Stephanie Lemelin , whom Greta calls regularly from an old rotary-dial phone, and Malcolm Rupert Evans , the handsome young local man who delivers groceries and brings mail to the house about once a week.
An American nanny is shocked that her new English family's boy is actually a life-sized doll. After she violates a list of strict rules, disturbing events make her believe that the doll is really alive. Scariest Horror Film of The Boy is a horror film directed by William Brent Bell and written by Stacey Menear. The film stars Lauren Cohan and Rupert Evans. Filming began on.
At first, Greta treats the doll as most of us would, tossing it aside and ignoring it. But the longer Greta ignores that list, the more strange things begin to happen in that house. The awards derbies of recent years have seen a predominance of indie films at the expense of big studio features — resulting in a slate of Oscar contenders devoid not only of genuine blockbusters but also of more modest mid-budget crowd-pleasers.
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It's awkward and strange but never shamelessly over-the-top enough to serve as a guilty pleasure. If only writer Stacey Menear and director William Brent Bell took the very real horrors of domestic abuse as seriously as they do the virtual horror of paranormal activity.
The Boy certainly has its moments of shock value but the sluggish story feels lukewarm for the most part. It is such a shame that The Boy could not capitalize any further on its strange and hypnotic inclinations. The Boy was much more successful than I imagined it could be. There were so many elements that worked in its favor such as the acting and an interesting plot line. One of the more successful entries in the evil doll sub-genre, poking fun at itself at all the right moments.
It is quite a bit of fun, despite its lack of inspiration.
Lauren Cohan is surprisingly decent acting alongside a porcelain doll , but the indisputable disaster of the story just ruins and squanders any semblance of entertainment value. The Boy is strange, odd and even awkward but we hope the sequel is truly scary The Boy, on the other hand, is a dumb garbage movie that I recommend to no one. Coulda used some better writing. Coulda done some little reaching, but no.
The scares are overshadowed by the weak storyline and flakey acting. The scariest thing about The Boy is how much potential it wastes, foolishly abandoning a horror direction that was eerie, supernatural, and with one leg rooted in a psychological breakdown, and instead cheerfully dives headfirst into an unwanted new direction of campy cheap thrills. I haven't seen a decent movie unravel with this high-speed velocity and tone-shift since Danny Boyle's Sunshine, an intelligent sci-fi vision that decided, hey, let's just make the entire final act a slasher movie in space. The Boy is about an American nanny who travels abroad to care for an elderly couple's young son Brahms, a son who happens to be a porcelain doll.
There are rules to be followed and consequences if they are disobeyed. I liked that our heroine Lauren Cohan, The Walking Dead doesn't try and ignore what she's seeing for a majority of the movie and instead embraces the unusual circumstances, testing Brahms and discovering more.
It kept the film moving in more engaging directions rather than denying the obvious and padding out its run time. I wish that the script opened up more about the domestic violence that haunts our heroine, literally and figuratively, but for a solid hour I was fairly entertained by the supernatural parlor games and lead performance by Cohan.
Then the last act occurred, which just swiped away all the good will. I groaned aloud when the shift happened. I won't go into detail but suffice to say it feels distinctly like two different movies clumsily grafted onto one another at the behest of exec.