Steven Spielberg

Spooktastic: THE BOY (A review, of sorts. No spoilers.)

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There’s a scene toward the end of horror movie Dead Silence (2007) where the protagonist removes a cloth covering a mysterious shape. “Is that a doll?” asks the detective as he studies the revealed marionette. “It’s not a doll,” says the protagonist. “It’s a boy.”

This captures the central question in The Boy,  William Brent Bell’s new horror movie. Is it a doll, or is it a boy?

(from "Dead Silence")

(from “Dead Silence”)

I love good possessed-doll horror movies. And bad ones, for that matter.

To write a horror movie review without spoilers is almost to write no review at all. The challenge leaves me, an amateur film critic, with little more to say than, “I liked this movie,” or “I didn’t care for this movie.” But I do want to say a little bit about The Boy.

After the obvious Dead Silence, the next film that comes to mind is Poltergeist (1982). Poltergeist matters because it was my first spooky horror movie, so it set a standard of comparison. (I say “spooky horror” as opposed to “psycho slasher horror,” “serial killer horror,” “sci-fi horror,” “psychological horror,” “mystery horror,” etc.)

Poltergeist made an impression on me partly because I was 14 and new to the genre, but more because it was just a great film. Looking back on it now, after 33 years and countless more horror movies, I can appreciate the restraint and effective use of fright tactics in Poltergeist. The 2015 Poltergeist remake, on the other hand, did nothing but bore me. I couldn’t help but set it against the original in my mind. I rolled my eyes when the family moved into the house and the kid almost immediately discovered a whole box filled with clown dolls. I didn’t finish the movie.

The Poltergeist remake failed me because I wasn’t spooked by a pile of clown dolls in a box. I was spooked by one clown  illuminated in the night at the convergence of built-up of tension and weather, as in the original Poltergeist. That’s pacing. And nuance. And Steven Spielberg. Probably many of us Gen-X’ers derived our fear of clowns from that movie. I know for me, it was that clown that hooked me on the shiver of dread I’ve sought in spooky horror movies ever since. I don’t know that The Boy would inspire any such lasting impression on those who see it as their first spooky horror film, but it’s a solid example of nicely done metaphysical terror. Where spooky horror is concerned, “less is more” works for me.

The Boy has this focus in common with the original Poltergeist. There’s only one “boy” in The Boy.  If a remake of The Boy is ever done and it features triplets instead of a single child, I would roll my eyes and walk away, like I did during the Poltergeist remake. The clown doll in Poltergeist was little more than a prop, but it was the most memorable prop for many of us, and the creators of the remake knew it. That’s why they figured they’d capitalize on its impact by filling a box with clowns and shoving it at us at the beginning of the movie. “You got a major rush from that one scary clown in the first Poltergeist? Here, have a whole bunch of clowns!”

Granted, that box of clowns might be terribly scary to a child who sees the movie, but as an adult who saw the original decades ago and has henceforth proceeded in life with an instilled dread of clowns, that box of clowns was ridiculous.

For a more literal comparison, you could align The Boy with other “possessed doll as main character” films such as Child’s Play or Annabelle. Unlike Chucky and Annabelle, though, Brahms (the titular character in The Boy) isn’t made to look creepy. At the opposite end of the spectrum, I think of “Amelia,” a tale in Karen Black’s Trilogy of Terror (1975). The possessed doll in “Amelia” is so over-the-top in its vicious appearance, it safely clears the level of “trying too hard” and goes straight to campy gore. It’s one of my favorites.

Brahms in The Boy is not a possessed doll-turned-slasher. Brahms is a normal-looking porcelain doll who sits calmly and does basically nothing. Brahms resembles the eight-year-old male child shown in a painting hanging above the stairs in the darkly atmospheric English country manse that provides the setting for the movie.  If the Brahms doll is animate, it’s animate by suggestion only. We do not see it move. It is quiet. It doesn’t go tearing around the house with an upraised dagger. It doesn’t go ripping out people’s tongues. It’s this element of absence that spooks me more than the obvious, albeit entertaining, antics of the possessed dolls in other movies.

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The Boy features its share of horror movie tropes such as jump-scares and phones that suddenly don’t work and terrifying scenes that turn out to be nightmares, but these tropes are used judiciously and kept to a minimum so the story can evolve of its own accord. It’s a rare horror movie that doesn’t depend solely on cheap tricks to get reactions.

The Boy impressed us with its fresh take on the possessed-doll horror theme. I don’t know what else I could say without spoiling the film, so I’ll stop here. I do recommend this film if you’re a fan of the horror genre, or if you’re just curious.

Oh, and by the way… the clown in Dead Silence is, to date, my favorite of all the scary movie clowns, and that includes the one in Poltergeist. To me, it’s the scariest.

Jurassic World… because sometimes, your life is lacking in dinosaurage. (“Rage” being the operative part of the word.)

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Jurassic World spoiler alert:

There’s a huge, pissed-off dinosaur in it.

 

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No, really. In one scene early on, park operations chief Claire (Bryce Dallas Howard) explains that their on-site scientists needed to innovate bigger, better dinosaurs (she may have said the words, “faster, louder, scarier,” but I wasn’t taking notes… you get the idea) in order to re-boot the general public’s interest in visiting the park of living, prehistoric attractions. Because, you know, living prehistoric attractions aren’t interesting enough as they are.

I appreciated how Claire was just as much speaking of we, the audience, as she was of the fictional Jurassic World visitors. We movie-goers are the actual visitors of the park; we’re now on installment number four of this behemoth of a sci-fi action-adventure franchise, and let’s face it: At this point, we need “bigger, better, faster, louder, scarier” dinosaurs if any movie starting with the word “Jurassic” is going to get us salivating to the tune of (insert lofty dollar amount in theatre ticket sales). 22 years after the fresh, meteoric impact of the original Jurassic Park roused millions of imaginations around the world, the team behind this new chapter in the saga had to come up with something spectacular… at least in raw dinosaurage, if the plot lines were going to continue along the uninspired course they’d taken in the intervening years.

1993’s Jurassic Park, based on the novel by Michael Crichton, was just a tough act to follow, so to speak. Steven Spielberg unleashed it on a public that’d been unaware of exactly how well dinosaurs could be done in cinema, and not a mind that saw it was left unblown. The sequel was, in my opinion, dull, and the third one looked to be even less interesting. Following that disappointment, folks on the Jurassic World team got busy spawning a super enormous, intricately modified version of a dinosaur. Callaghan and I entered the theatre fully expecting it, since the trailer had looked promising, and we really wanted to believe the hype this time. We weren’t disappointed. Indominus rex was delivered, and the Jurassic thrill was back and intact.

Because Jurassic World quickly developed into a well-paced, rollicking visual fest of panic and people flung asunder, I was breathlessly entertained enough to shrug off my annoyance and suppress my inward eye-rolling provoked by some of the sub-plots and caricatures of the people in the story. I was willing to overlook the absurdity of the shoes on Claire’s feet, which were 1). white (I noticed as she was running through mud), and 2). high-heeled (I especially noticed as she was running through mud). In fact, from the time she started running, I made it a point to look at her feet in each scene, checking to see whether she’d resourcefully broken off the heels. She hadn’t. She ran at breakneck speed through a prehistoric forest and fields with rampaging beasts and her life in peril… wearing high heels.

I wasn’t there for well-developed characters devoid of stereotypes. I didn’t go in expecting to marvel at the usage of restraint in the writing, or in any other aspect. I was there for the suspenseful thrill of it all, and the snappy lightness of the script allowed us to simply enjoy that. We didn’t have to wrangle too much with ethics in science or the over-arching concept of “playing God.” We could just appreciate the excellence of everything done well in the film. We could admire the panache of the motorcycle-riding Velociraptor Whisperer played by Chris Pratt. We could feel gratified when Claire started to see beyond the dollar signs in her park’s living, breathing “assets” and “attractions” and developed respect for the dinosaurs as actual, sentient beings. We could bask in the nostalgic pleasure of the Jurassic Park theme music sweeping through the theatre, carrying us along on our ride, and we could enjoy exhaling before the spectacle of it all. There were angry, vicious dinosaurs, and they were impressive.

[Side note: Glancing around the theatre, we couldn’t help but raise our eyebrows at each other over the sheer number of young children we saw. Especially with the level of advancement reached in CGI technology, how did this film end up with a PG-13 rating? The girl sitting next to us had to be around six years old, and she was in good company with plenty of other children – including babies and toddlers – throughout the sold-out house. We were genuinely confused. Did the parents think that perhaps Jurassic World would feature Barney?

I remember when I went to the theatre with my family to see Alien. I was ten, and the scene that horrified me – the alien popping out of the guy’s chest – made Alien look like a walk through Mister Roger’s neighborhood compared to Jurassic World].

Directed by Colin Trevorrow, Jurassic World brings dinosaur-sexy back after all these years. It’s a satisfying blockbuster summer action flick to watch, and it’s certainly unlike any zoo you’ve ever visited.