It's practically a given that poorly made horror movies and the start of a new movie season go together, like bones in an unmarked grave. Both are common occurrences that don’t seem likely to change anytime soon. Director William Brent Bell’s latest film, **‘The Boy’**, feels much like what we’ve come to expect: a lifeless fright story relying on tired and familiar horror tropes. It lands squarely among the year's less successful releases. Essentially, ‘The Boy’ is a failed attempt at creating terror from artificial and worn-out conventions. While **‘The Boy’** does manage to create some atmospheric chills, and as a production it conveys an anxious feeling through its Gothic style set designs, it ultimately fails to engage the audience with compelling storytelling or genuinely unsettling psychological thrills. Instead, director Bell's predictable plot focuses on tired clichés involving uninspired melodrama, recycled supernatural events, the protagonist’s troubled past, and jarring, manufactured suspense. The film’s setting—a large, darkened manor filled with eccentric people and their devoted, demonic doll (referred to as “the boy”)—provides a playground for its horror elements. American Greta Evans (played by Lauren Cohan of ‘The Walking Dead’) travels to the English countryside seeking a fresh start after a difficult relationship back in the United States. She takes a job as a nanny for the Heelshire couple (Jim Norton and Diana Hardcastle) at their estate. Her duties involve caring for their son, Brahms. However, she soon discovers that Brahms is not a child but a porcelain doll. The Heelshires treat the doll as if he were their real son. Despite this oddity, Greta accepts the position and cares for the toy while his "parents" are away. Greta learns about the strange history surrounding the Heelshires and Brahms from their deliveryman, Malcolm (Rupert Evans). Nearly two decades earlier, the original Brahms died in a fire, which explains the couple’s unusual behavior and denial over losing their son, replacing him with the doll. Greta intends to fulfill her duties responsibly and treat Brahms with kindness, as instructed by the Heelshires, who warned her that previous nannies had issues with him. Initially hesitant, Greta avoids interacting with Brahms. Following specific instructions from the Heelshires regarding how to care for their “boy,” she eventually develops a fondness for him. However, it’s not long before Greta's ex-boyfriend Cole arrives in England, creating an awkward situation involving the clingy doll. **‘The Boy’** does have moments of shock value, but the story often feels flat and uninspired. Bell and screenwriter Stacey Manear created a mysterious thriller that leans on old-fashioned suspense techniques—shadowy hallways, dim lighting, and vague hints—suggesting more substance than it delivers concerning Brahms' presence or the history of his past. The filmmakers give Greta (Cohan) personal problems to carry over into her new life in England, but her melancholy comes across as straightforward and unremarkable. It’s hardly surprising that Cole would appear in England to try and win back Greta, given the predictable nature of the plot. It's disappointing that **‘The Boy’** didn’t explore its unique premise further. The story had the potential for a psychological exploration of paranoia and possessiveness, but it never fully delves into the unsettling connection between Greta and the doll Brahms or Brahms’ influence within the manor. Sadly, the film’s slow build-up loses momentum when compared to other horror films featuring disturbing dolls, which often have more gruesome and imaginative scares. What's frustrating about **‘The Boy’** is its squandered potential for a truly bizarre gem that could have examined themes of grief, emotional loss, and distorted reality. Instead, the intended suspense feels as rigid and lifeless as the doll Brahms himself. **‘The Boy’** (2016) 1 hr. 37 mins. Starring: Lauren Cohan, Rupert Evans, Diana Hardcastle, James Russell, Jim Norton Directed by: William Brent Bell MPAA Rating: PG-13 Genre: Horror/Thriller Critic’s rating: ** stars (out of 4 stars) (c) Frank Ochieng 2016

Source on TMDB