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Director: William Brent Bell
Screenplay: Stacey Menear
Cast: Lauren Cohan (as Greta); Rupert Evans (as
Malcolm); Jim Norton (as Mr. Heelshire); Diana Hardcastle (as Mrs. Heelshire);
Ben Robson (as Cole)
A Night of a Thousand
Horror (Movies) #10
Note: This review will reveal the ending of The Boy in detail. Read on your discretion.
The premise intrigued me. A young
American lass Greta (Cohan) is hired
by an elderly couple in England to look after their son Brahms, only for her to
immediately learn Brahms is a doll, kept to cope with their decades long grief
of losing their son and treated exactly as if it's their living child. Baffled and
not pleased at all with this, Greta when they leave immediately puts a blanket
over Brahms' head and relaxes in an easy job, only for strange sounds and
events to take place that suggest Brahms is very much alive. The film takes a
while to get interesting from this beginning, only starting to get potentially
gripping when she fully believes the doll is alive and treats Brahms caringly. For
the most part before The Boy
represents the blander area of modern horror with over eager music, the
dragging of plot points etc., but when it gets to this point, represented quite
amusingly by Brahms leaving a peanut butter sandwich outside a door she's
closed out of pure terror, the offer of how the film could go is potentially
tantalising.
Here is when the interesting area
The Boy taps into starts to develop,
the notion of the uncanny, Sigmund
Freud's theory of how people react to something familiar to them but the
possibility of this fact disturbing that person, the reason why dolls and in
modern times realistic looking robots can still creep people out if they are
made to look like us. The idea here, to pinch dialogue from Pinocchio, that Brahms is a real boy is
immediately fascinating as the film looks like it's going to ditch the spooky
jump scares in favour of an intelligent psychological drama, about to rift on
the same tone as Roman Polanski's Repulsion (1965). The viewer is drip
fed from the beginning that Greta has a troubled past she is fleeing from, an
abusive boyfriend who caused her to miscarriage, emotionally attaching herself
to Brahms quickly when she doesn't perceive him as a threat. In fact the film
looks like it's going to subvert viewers' moral compasses when the boyfriend Cole
(Robson) gets to the home and Brahms is
seemingly going to stop him from taking his beloved Greta away.
Then the film shoots itself in
both feet when Brahms is actually revealed to be alive, turning the film into a
psycho killer story with chase scenes, Brahms evil from birth and intent on
keeping Greta in his stereotypical basement lair, and destroying any worth to
the movie.I became aware that something was suspicious, that there might be a
non-supernatural twist, even before the film started when I noticed The Boy was a Chinese-American
co-production. This is entirely speculation, with no basis in fact, the
possibility likely that the creators of the film went for an exceptionally dumb
plot twist instead of something interesting. But what if the film might've been
catered for possible mainland Chinese release? Imagine if this is true from
pure speculation, and this brings up an issue with how horror films would be
made in that country. Unless it's based on Chinese mythology, or can be
explained away by trickery or hallucinations in the plot, films with
supernatural material or ghosts are banned in mainland China under the belief
of preventing suspicion and "cults" existing, something that can be
explained if one remembers its previous existence as communist China, communism
anti-religion in attitude since Karl Marx
called religion opium for the masses. Even the new Ghostbusters movie wasn't safe from this ban, although it does beg
the question, for another day, about science fiction blockbusters and fantasy
films like the Warcraft movie that
do even better in China than in the USA in relation to this.
This might be completely missing
the reason why The Boy decided to
sabotage itself with the blandness and worst traits of current horror cinema,
but if there's any semblance of truth to it, there's a potential issue that
could crop up with future horror productions with mainland Chinese co-producers
that could injure box office potential after a while. Horror cinema has to
repeat plot tropes and clichés already, repeating ideas since Georges Méliès made spooky narratives at
the start of cinema, so the idea of forcibly removing supernatural narratives
from the well of story ideas could lead to some exceptionally generic films if
they have to repeat what's left. That in itself is far and away more
interesting than The Boy when it
completely disappointed me.
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