The Boy (2015)

THE BOY

The Horror Movie

Additional.

The Boy is a 2015 American horror film directed by Craig Macneill, written by Macneill and Clay McLeod Chapman, and starring David Morse, Rainn Wilson, and Jared Breeze.

It was based on a short film by Macneill and Chapman, Henley, which was in turn loosely inspired by a novel written by Chapman, Miss Corpus.

Breeze plays the titular boy, a budding serial killer

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Directed by: Craig Macneill

Produced by: Daniel Noah, Josh C. Waller, Elijah Wood

Written by: Craig Macneill, Clay McLeod Chapman

Starring: Jared Breeze, Rainn Wilson, David Morse

Music by: Hauschka

Cinematography: Noah Greenberg

Edited by: Craig Macneill

Production company: SpectreVision, Chiller Films

Distributed by: Chiller Films

Release date:

March 14, 2015 (SXSW)

August 14, 2015 (US)

Running time: 1h 45m

Country: United States

Language : English

Cast.

David Morse as John Henley

Rainn Wilson as William Colby

Jared Breeze as Ted Henley

Bill Sage as the Sheriff

Mike Vogel

Zuleikha Robinson

Aiden Lovekamp as Ben

David Valencia as Marcus

Reception.

Rotten Tomatoes, a review aggregator, reports that 61% of 18 surveyed critics gave it a positive review; the average rating is 5.6/10.

Metacritic rated it 45/100 based on reviews from eight critics.

Deanna James of The Lineup named The Boy as of of the scariest moves of 2015.

Emily Buder of Indiewire wrote that The Boy was one of the 13 most criminally overlooked indie and foreign films of 2015.

Ken W. Hanley at Fangoria included The Boy in the top 10 horror films of 2015.

HitFix included the film in their list of 14 great under the radar films of 2015.

Dennis Harvey of Variety wrote, "Though the body count is ultimately higher than in Psycho, seldom has a stay at a homicidal rural motel seemed quite so endless and dull as in The Boy."

Frank Scheck of The Hollywood Reporter wrote,

"While it's admirable that director Macneill and his co-scripter Clay McLeod Chapman opted to emphasize mood and psychology over the story's more exploitable elements, it nonetheless results in a listless tedium that isn't helped by the overly long running time."

Andy Webster of the New York Times called it "a feature stunning to behold if somewhat unpersuasive in narrative".

Eric Kohn of Indiewire, rated it B+ and said that the film "maintains a gripping sense of atmospheric dread", though its "consistently grave tone sometimes threatens to suffocate the dramatic momentum". Scott Wampler of Badass Digest wrote, "It's great, it's creepy, it's got a jet-black third act that'll have you squirming in your seat, and just about everything – from the cast and the script to the set design and the cinematography – works."

Ain't It Cool News wrote, "But much like its protagonist, it is a unique little beast, and if you let the dark, broody tone suck you in, both the ride and the payoff should give you your 12 bucks worth."

Marjorie Baumgarten of The Austin Chronicle called it "more measured than the usual demon-child fare". Charlie Schmidlin of The Playlist wrote that film has "extremely effective" parts, but it plays into negative stereotypes of "slow burn" psychological dramas.

Carson Lund of Slant Magazine wrote, "Even if his talents tip the scales toward overstatement, Macneill has a command for composition and rhythm that belies his skinny résumé, and one can't help but be unnerved by Breeze's relentlessly deer-in-the-headlights performance as the sociopathic Ted." Dominick Suzanne-Mayer of Consequence of Sound rated it B− and wrote,

"If the film itself slips a little too easily into the banality it’s chronicling at times, The Boy is sustained by the measured performances of the handful of wayward souls in its sparse, bleak world."

Drew Tinnin of Dread Central rated it 3/5 stars and wrote,

"The slow start (and maybe a little of the middle) does pay off, however, with a conclusion that's shocking even after seeing what Ted’s already been up to." Samuel Zimmerman of Shock Till You Drop wrote, "Macneill's disinterest in making a traditional slasher, let alone an iconic one, ultimately ends up with one of the most memorable contemporary iterations."

Anton Bitel of Sight and Sound wrote, "An austere and chilling portrait of America's abandoned margins, The Boy is a slow-burner that builds and builds to its climactic conflagration, and offers a dark, disturbing flipside to Richard Linklater's Boyhood"

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The Boy (2015)