The Boy
Director: Craig William Macneill
Rating: N/A
Release Date: March 14, 2014 (SXSW)
Say what you will, little kids can oftentimes be the creepiest, most frightening people in the world. Their understanding (or misunderstanding) of basic social interactions is funny at times, but possesses a somewhat sinister nature. How many times have you seen children, both in media and in everyday life, do or say something that, if done by an adult, would be met with caution and concern?
The relationship between children and dark impulses has become fodder for many horror/thrillers over the years. The Boy represents a return to the trope, presented as a slow moving film that’s meant to build tension and rankle unease and discomfort amongst audiences. However, the slow pacing of the film ultimately disservices the film.
Ted (Jared Breeze) is a nine-year-old boy living at a lonely highway motel owned by his father, John (David Morse), in 1989 following the departure of his mother. With his father facing depression, Ted is free to indulge his thoughts, which partially stem from the practice of luring animals into the road to be slaughtered and turned into John for a quarter. As his desire to make more money increases, so do the animals, resulting in a car accident that leaves the driver, William Colby (Rainn Wilson), stranded. The two form a bond of sorts, with both William and Ted hiding dark secrets within themselves. Ted’s growing fascination with death comes to a head in the film’s climax that will leave audiences stunned.
Despite a climactic ending, The Boy takes far too long for the payoff, which may disappoint viewers. Furthermore, Ted’s evolution in his creepiness can make audiences uncomfortable with the levels of creepiness on display. Fans of psychological thrillers will love where writer/director Craig William Macneill takes the film, but the best of praise will be held for Breeze and his depiction of Ted. His ability to balance and hide Ted’s sinister and devious thoughts without being a cartoon-like caricature of the trope.
As a rumored first part in a trilogy, some excuses could be made for some characterization/pacing that plagued the film. The payoff could mean a tighter, more focused sequel, but as it currently stands, works against the film on its own. The Boy is a very solid debut by Macneill and will attract a small cult following to be appreciated by horror cinephiles.