Boogeyman (2005)
Directed by Stephen Kay
Every culture has one – the horrible monster fueling young children's nightmares. But for Tim, the Boogeyman still lives in his memories as a creature that devoured his father 16 years ago. Is the Boogeyman real, or did Tim make it up to explain why his father abandoned his family?
2 connections found
View:
2 connections, in both directions
What critics compared Boogeyman to
Budgets for horror films have changed a lot since the first appearance of Raimi's infamous Sam-O-Cam, mounted on two sawhorses and being hand-pushed through the woods in 1983's "The Evil Dead," but the concept remains the same.
Genre fans will no doubt come expecting better thanks to the film's Ghost House production pedigree from Sam Raimi and producing partner Bob Tapert (late of Lawlessâ Xena), who recently brought Takashi Shimizuâs The Grudge remake to screens and have a full slate of upcoming horror shows including a remake of Raimiâs nascent The Evil Dead.
Since then, Ghost House has announced a full slate of movies including the inevitable Grudge 2, an adaptation of the cult comic book 30 Days of Night and, most bizarrely, a remake of Raimi's own horror classic The Evil Dead.
Concocted from vague memories of The Exorcist and Hebrew school by the screenwriting team behind Boogeyman (2005) and Knowing (2009), The Possession is 93 minutes of stuff you've seen before, plus a third act full of ominous Hasidic Jews, which, to be fair, is something you probably haven't seen before.
Writers Juliet Snowden & Stiles White ("Boogeyman," "Knowing") follow the same old template, distrusting the 'less is more' approach for sensationalism that goes far beyond anything in the lore and Danish director Ole Bornedal (" Nightwatch ," " Just Another Love Story ") compounds the issue by orchestrating with a sledgehammer.
The movie actually gets moderately interesting by this point, but director Ole Bornedal (Nightwatch) and screenwriters Juliet Snowden and Stiles White (Boogeyman, Knowing) don’t take it as far as it could go, probably to preserve a lucrative American PG-13 rating (an earlier “R” cut was rejected).