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Horripilations Review of The Boy (2016)

Synopsis of The Boy (2016)

The Boy, directed by William Brent Bell, is a psychological horror film that delves into themes of isolation, psychological manipulation, and the uncanny. The story is set in a remote English countryside manor, where a young American woman named Greta Evans, played by Lauren Cohan, is hired as a nanny for a peculiar boy who, unsettlingly, is not a boy at all, but a life-sized porcelain doll.

Upon her arrival at the estate, Greta meets the elderly couple, Mr and Mrs Heelshire, portrayed by Jim Norton and Diana Hardcastle, who reveal the strict rules regarding the care of their “son,” Brahms. The couple treats the doll as if it were a real child, insisting on a specific schedule for feeding, playtime, and bedtime. Greta, initially unsure of this bizarre arrangement, reluctantly agrees to the duties while grappling with her own troubling past.

As the story unfolds, strange occurrences plague the manor, suggesting Brahms is more than just an inanimate figure. Greta experiences eerie noises, moving objects, and disembodied whispers, leading her to question her sanity. The tension escalates when a series of harrowing events unfold, revealing sinister secrets buried in the Heelshire household, as well as Greta’s connection to Brahms.

The film expertly evolves from a straightforward horror narrative into a psychological exploration of grief and trauma, ultimately questioning what reality is and leaving the viewer teetering on the brink of disbelief. Through clever twists and sudden revelations, The Boy engages with the genre’s conventions while offering a unique, albeit uneven, experience that keeps the audience guessing.

List of Actors and Their Characters

  • Lauren Cohan as Greta Evans
  • Jim Norton as Mr Heelshire
  • Diana Hardcastle as Mrs Heelshire
  • Rupert Evans as Malcolm
  • Ben Robson as Cole
  • Jasmine Lee-Jones as Little Girl

Review of The Boy (2016)

The Boy is, at its core, an intriguing play on psychological horror tropes. The film begins with a premise that is as unsettling as it is fascinating—a porcelain doll, treated as a real boy by its elderly guardians, serves as the focal point for the story. This uncanny element sets the stage for what initially promises to be a thrilling and foreboding experience, steeped in the isolation and paranoia often found in gothic horror.

Director William Brent Bell creates an atmosphere of unease through not just the visual aesthetic of the manor, with its lavish yet decaying opulence, but also through the meticulous sound design that punctuates the film’s sombre tone. The creaking floorboards and unsettling silence amplify Greta’s isolation, effectively immersing viewers in her growing sense of dread. As she navigates the strict routines dictated by the Heelshires, we watch her mental state unravel, leading to a deepening sense of entrapment, reminiscent of psychological thrillers from the genre’s heyday.

Lauren Cohan delivers a commendable performance as Greta. Her portrayal of a troubled woman seeking refuge in a foreign environment allows her to elicit empathy from the audience. As she grapples with her dark past, her evolving relationship with Brahms becomes a metaphor for her own struggles with acceptance and forgiveness. Cohan successfully conveys a sense of urgency and desperation, making Greta a relatable character, albeit caught in a bizarre scenario.

The supporting cast contributes appreciably to the film’s atmosphere. Jim Norton and Diana Hardcastle, as Mr and Mrs Heelshire, embody a quintessentially eerie charm. Their unwavering belief in Brahms’ sentience adds layers of complexity to the narrative, leaving the viewer to question not only their motivations but also the very nature of reality surrounding the doll. Each interaction with Greta heightens the suspense, as the couple’s intense attachment to Brahms raises questions about their own psychological states.

Rupert Evans as Malcolm, a local deliveryman, introduces a necessary dynamic that hints at potential romance but also serves as a sounding board for Greta’s gradual descent into madness. His character embodies the “voice of reason”, attempting to assess the bizarre environment while also posing questions about the parent-child dynamic, further complicating the narrative.

One of the strengths of The Boy lies in its slow-building tension. The initial pacing capitalises on an atmosphere of discomfort, allowing the audience to settle into the eerie world of the Heelshire manor. The doll, which at first seems merely a prop, takes on a life of its own as strange occurrences begin to unfold. However, as the narrative progresses, some viewers may find the pacing lethargic, and the build-up fails to culminate in a satisfying climax.

Furthermore, there are moments when the film relies heavily on jump scares—in some instances, successfully eliciting shock, while at other times they feel forced or clichéd. Such tactics can detract from the more psychological elements in favour of the conventional, less satisfying horror formula. Nonetheless, the film’s twists towards the conclusion challenge viewer expectations, striving to offer a fresh perspective on what Brahms represents within the psychological landscape of horror.

Critically, The Boy succeeds in creating an atmosphere that plays on the viewer’s fears, utilizing the doll as a vehicle for exploring the darker aspects of human emotions—loss, devastation, and the subconscious manifestation of trauma. The film raises questions about the nature of motherhood and attachment, blurring the line between love and obsession. As Greta engages with Brahms, the audience is left to ponder whether this attachment is a reflection of her own emotional struggles or Brahms’ malevolent influence.

However, despite its promising premise and engaging performances, The Boy occasionally stumbles in execution. The narrative becomes convoluted towards the end, with revelations that may bewilder some viewers rather than leaving them in contemplation. The closing sequences feel contrived, and not every plot twist lands with the intended impact; rather, certain reveals can detract from the film’s carefully crafted atmosphere.

In conclusion, The Boy is a fascinating amalgamation of psychological horror, character-driven storytelling, and self-reflective themes. It takes a bold premise and strives to explore the depths of human emotion and attachment through the lens of horror. While it ultimately falters in delivering a consistently gripping experience, the strong performances and a chilling atmosphere redeem much of its flaws. Therefore, while it may not stand as a paragon within the genre, it offers enough twists and turns to keep audiences engaged for its duration.

Score: 6.5/10

In summation, The Boy leaves an impression not so much with its frights, but in its exploration of the psyche—a journey that, while uneven, remains worth embarking on for those who appreciate a more thoughtful take on horror.

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