| 20th Century Studios | Release Date: June 2, 2023 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
17
Mixed:
19
Negative:
1
|
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Critic Reviews
SlashfilmMay 25, 2023
Infused with a stylish and shadowy style courtesy of director Rob Savage (“Host,” “Dashcam”), with a sharp screenplay by Scott Beck, Bryan Woods and Mark Heyman, The Boogeyman is a familiar but still effectively unsettling variation on the time-honored story of the terrifying entity who’s in the closet or under the bed or maybe just down the hall, waiting to pounce on you and your loved ones, even as everyone around thinks you’re nutso for insisting there’s a Boogeyman living rent-free in your house.
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Savage’s confidence behind the camera sustains the film’s intensity even when the connective tissue between plot and theme, logic and tone is tenuous at best. But even working alongside sturdy collaborators like Messina and young Blair, it’s Thatcher who sells the improbable reality of an old-as-time spirit preying upon the frightened and grieving.
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There are jump-scares aplenty, and a great deal of barely visible shots of its monster, culminating in a full-on creature reveal that’s nicely gross. The characters are sketched out just enough to make you care whether they live or die, with solid performances from all involved, including a rare star turn from Messina.
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Movie NationMay 25, 2023
The story here didn’t do much for me and seems like a rickety, illogically-pieced-together structure to hang this narrative on. But the players and the craftsmanship — the lighting, editing, silences and loud noises, they make up for that and deliver those frights we ordered the moment we bought a ticket.
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While The Boogeyman — based on the 1973 Stephen King short story about a closet-dwelling stealer of souls — is as narratively generic as its on-the-nose (and oft-used) title may suggest, British director Rob Savage brings an innate humanness and playful spirit that lifts this otherwise-rote monster movie.
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The GuardianMay 30, 2023
Outside of Savage’s visual verve, there’s really little else to The Boogeyman, its attempt to use its central villain as a metaphor for emotional trauma never working quite as well as it did in last year’s Smile (horror as therapy is getting a tad exhausting in general). It ultimately works best as further proof of his ability as a genre film-maker, sleekly gliding from a laptop to the big screen, better things to surely come.
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The race to the end is certainly technically proficient, and all the actors gamely play out the ride (including an acid-tangy Marin Ireland making the most of her two scenes). But it’s not horror anymore — more like a medical drama with a race-against-time diagnosis and cure — and ultimately no memorable deepening of King’s ruthlessly efficient, vividly sketched black hole.
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IndieWireMay 25, 2023
There’s nothing scarier than things that go bump in the night, but the terror is easily dispelled once we turn on the light and see what’s really there. That’s the lesson of King’s story, but Savage’s adaptation fails to understand that there’s nothing more frightening than the unknown.
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The Boogeyman, extrapolated from a minor 1970s short story by Stephen King, might conceivably make sense to viewers with no access to proper lighting or functioning windows. For the rest of us, though, this near-indecipherable movie — as murky in plot and payoff as in setting — demands such a total suspension of rationality that its few scary moments struggle to land.
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The Daily BeastMay 29, 2023
Rob Savage’s adaptation of Stephen King’s 1973 short story is as stereotypical as they come, so devoid of originality that the most pressing emotion it elicits is pity for its leads, Sophie Thatcher and Chris Messina, who deserve better than to be put through this paint-by-numbers ringer.
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