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The Boogeyman: A Stephen King Horror Movie is grim, but too bland.

In 1978 Stephen King’s short story The Boogeyman appeared. The short piece, in which a man visits a therapist, reports on a mysterious villain who lives in a closet, but does not give details about him.

The first film, titled The Boogeyman, was released in 1980 and was a slasher about childhood trauma. It was later given two sequels. But none of these were adaptations of King.
In 2005, there was a new Boogeyman, a horror film about a monster living in a closet. It had two sequels, and later there was a Moroccan-French remake. There was a bit more from King than its predecessors, but still not much.
“Boogeyman” -2023 is based on the original story is more significant than previous paintings, but to call the film adaptation is still not possible.
The script was written by Scott Beck and Brian Woods, the writers of “A Quiet Place,” and the final version was written by Mark Heyman (“Black Swan”). The director’s chair went to Rob Savage, who directed “Registrar” and Host (translated in Russia as “Astral. Online”). Starring Sophie Thatcher (“Hornets”), Vivien Lyra Blair (“Tragedy in Waco”) and Chris Messina (Air).

Psychotherapist Will Harper is raising two daughters on his own after the death of his wife. One day a man comes to see him claiming that a certain Boogeyman has taken his children (in fact, this scene alone is based entirely on King’s story). While Harper calls the police to shield himself from the patient, the man kills himself in the closet. Afterward, Will’s children begin to suffer from nightmares and intrusive visions–they think something terrible has taken up residence in their home. The eldest daughter, Sadie, begins to study the notes left by the suicide to see what is going on.

Events are moving too slowly.
“The Boogeyman” is only 98 minutes long, but it feels much longer. The fact is that there are only four or five vivid and important plot twists in the film, and the pauses in between are filled with about the same scenes – not only event-wise, but visually as well.

Rob Savage decided to shoot the whole picture in darkness, so the house where the therapist’s family lives is never bright – even during the day the rooms are gloomy. One also feels the desolation caused by the death of the girls’ mother. But there is so little dialogue and action that this emptiness makes you bored. There is tension and fear in the first half of the film, but the more one gets used to the darkness on the screen, the less emotion it evokes.

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