Tim (Barry Watson), twenty-three years old and a successful editor for a magazine, is scared of dark closets and cupboards, because, as a child, he saw his father pulled into a wardrobe by the Boogeyman. When Tim's mother dies, he returns to the family home, where, once again, he finds that the creature that likes to lurk in dark places is still up to his old tricks.
Boogeyman begins in exactly the same way as Monsters Inc.: with a frightened boy cowering in bed, imagining that everything in his darkened room is a monster. Unlike Monsters Inc., however, this supernatural tale from producers Robert Tapert and Sam Raimi (of Evil Dead/Spiderman fame) is a load of old toss!
Utilising a vast array of pointless visual gimmickry, and relying on an annoying amount of cheap scare tactics to keep its audience from nodding off, Boogeyman is yet another bland Hollywood horror which concentrates on delivering style over substance, winding up resembling an MTV music video in the process.
Towards the end of the film, director Stephen T. Kay gives up on any pretence that he knows what he is doing, and lets loose with a barrage of really bad CGI effects in a finalé so utterly awful that I wince just thinking about it: after flying through all kinds of interspatial doorways, Tim counts to 6, hits a toy bird with a baseball bat (turning it into a flock of real birds), smashes a spherical electric plasma lamp, and breaks his action man figure, thus destroying the objects that have caused his fear and, consequently, the creature. Easy when you know how!
Boogeyman begins in exactly the same way as Monsters Inc.: with a frightened boy cowering in bed, imagining that everything in his darkened room is a monster. Unlike Monsters Inc., however, this supernatural tale from producers Robert Tapert and Sam Raimi (of Evil Dead/Spiderman fame) is a load of old toss!
Utilising a vast array of pointless visual gimmickry, and relying on an annoying amount of cheap scare tactics to keep its audience from nodding off, Boogeyman is yet another bland Hollywood horror which concentrates on delivering style over substance, winding up resembling an MTV music video in the process.
Towards the end of the film, director Stephen T. Kay gives up on any pretence that he knows what he is doing, and lets loose with a barrage of really bad CGI effects in a finalé so utterly awful that I wince just thinking about it: after flying through all kinds of interspatial doorways, Tim counts to 6, hits a toy bird with a baseball bat (turning it into a flock of real birds), smashes a spherical electric plasma lamp, and breaks his action man figure, thus destroying the objects that have caused his fear and, consequently, the creature. Easy when you know how!