Boogeyman

Refreshing to constantly revisit Boogeyman and revere in its straightforwardness of the deliberate existence of a childhood phobia that spans across generations instead of the manifestations of trauma that inherently affects the protagonist metaphorically—thankfully it glides into frantic scares and superstition due to Kripke’s ‘battling-the-things-that-go-bump-in-the-night’ perspective and his fascination with middle-of-nowhere America where monster folklores are real. It takes risks: frenzied camerawork (that has instances of steady drifts towards tranquility) varied by eccentric editing along with its dreary attitude that slowly enters into the third act—surely not for everyone considering critics and audiences alike loathe this iteration of an imaginary figure coming to life, but the underappreciated opening sequence and the events that unfold afterwards deserves recognition at least.