Based on Stephen King’s short story of the same name, The Boogeyman smartly crafts a story that is as disconcerting as it is emotionally raw. There is something to be said about our society’s lack of openness about death and grief, but The Boogeyman definitely handles these themes well, all while connecting them with the horror of childhood fears — real and imagined. Directed by Rob Savage, The Boogeyman does an outstanding job of terrifying without forgetting about the very human emotions and relationships that anchor and elevate the story.
The film opens with a terrifying scene. A child in her crib is crying and the closet door squeaks open as the sound of her father’s voice is heard. But it isn’t a scene that offers comfort. Rather, it is one that chills and sets up the rest of the film. The Boogeyman shifts its focus, centering Sadie (Sophie Thatcher) and Sawyer (Vivien Lyra Blair), who lost their mother in a car accident a month before the start of the film. They, along with their father, Will (Chris Messina), are grieving, though Sadie is much more open about her sadness. When her younger sister Sawyer starts experiencing terror from a creature she claims is coming into her room from within the closet, Sadie begins to look for answers surrounding the arrival of the monster, and why it has latched onto her family.
The Boogeyman is genuinely unsettling. While there aren’t an excessive amount of jump scares, the ones that pop up are intense. Savage utilizes them spectacularly, heightening the tension and the fear of being caught by this gruesome monster. The boogeyman is used as a metaphor for dealing with grief and accepting death. Sadie attempts to talk about her mom, but her father is less willing to have that conversation, intent on keeping his emotions to himself and living in denial. Whereas Sadie believes Sawyer about the creature, Will does not listen to Sadie's concerns. It’s why she is able to face the monster head-on while Will is stuck, unable to accept the reality of his situation. To that end, the film is able to craft a thorough and engaging story about grief that isn’t solely reliant on the creature to get its point across.
Elevating the film is the cast. David Dastmalchian is excellent in his limited role as Lester Billings. His portrayal of a grieving and disbelieving father is riveting and moving, and I wish he had gotten more to do in the film. Ultimately, it’s Sophie Thatcher who steals the show. Her performance is layered and encapsulates the many feelings that come with losing someone you deeply care about. Thatcher is emotionally open, displaying the many aspects of her character — as a caring sister, as well as how a child can take on the role of a parent in the absence of one. Vivien Lyra Blair is also excellent as Sawyer, capturing the innocence and fear of being hunted by a figure no one believes is real. And though Chris Messina doesn’t get as much to work with in terms of the emotional capacity of his character, the actor does well in his smaller role.
The film’s script, written by Scott Beck, Mark Heyman, and Bryan Woods, doesn’t linger or unnecessarily drag out the plot. At a little over 90 minutes, the writing is tight, and it’s to the benefit of the story and its horror elements that it doesn’t overstay its welcome. The Boogeyman is littered with a sense of unease, as though we’re walking on eggshells while waiting for something to crack. The buildup is the best part, and the main characters are fleshed out, with scenes focused solely on their interpersonal relationships. This aspect of the film helps ground the horror elements, making for an overall chilling horror feature.
The Boogeyman is now playing in theaters. The film is 98 minutes long and is rated PG-13 for terror, violent content, teen drug use and some strong language.
The Boogeyman
3.5
The Boogeyman is a 2023 film directed by Rob Savage and starring Madison Hu, Vivien Lyra Blair, and Sophie Thatcher. The release is based heavily on Stephen King's short story of the same name. The director intends to warp the story enough to be somewhat different from the 1973 release.
