A man goes to see a psychologist to explain how an evil creature is responsible for the deaths of his three children.

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Cast

Credited cast:
Simon Fogarty ...
Andrew Billings
...
Dr. Harper
Rest of cast listed alphabetically:
Joanne Cullen ...
Rita
Ben Furlong ...
Dennis
Martin Neely ...
Young Doctor
Natasha O'Brien ...
Andrew's Mother
Sasha Phillips ...
Shirley (as Sasha Philips)
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Storyline

When Andrew Billings goes to see a psychologist to explain how an evil creature that lives in his closet is responsible for the deaths of his three children he is met with disbelief. But as the story progresses, both Dr Harper and the audience will start to consider the possibility that this "boogeyman" is real after all. Written by Gerard Lough

Plot Summary | Add Synopsis

Taglines:

Our worst nightmares happen behind closed doors.

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Short | Horror

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Release Date:

3 October 2010 (USA)  »

Also Known As:

Boogeyman 4  »

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Budget:

€2,000 (estimated)
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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

One of the biggest production problems was trying to find children to appear in the film. Some parents were put off by the film's creepy plot about a creature that kills children. See more »

Quotes

Andrew Billings: How could I go to Rita and admit I was wrong? I had to be strong. She was always weak as piss... look how easy she went to bed with me when we weren't married.
Dr. Harper: On the other hand, look how easily you went to bed with her.
Andrew Billings: Are you taking the piss?
See more »

Connections

Version of Stephen King's The Boogeyman (2012) See more »

Soundtracks

Swear
Performed by Moby
Courtesy of Mute Records
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User Reviews

 
An excellent short story gets a decent adaptation
1 May 2012 | by See all my reviews

At the request of director Gerard Lough, I have gone ahead and reviewed his short film The Boogeyman, based on (interestingly enough) my favourite short story from the mind of Stephen King. The e-mail from Lough came from out of the blue; he expressed his pleasure over my review of The Stolen Wings, one of his earlier shorts and then lo and behold, the opportunity presented itself. Feeling rather exalted, I accepted and here I am now: Not only am I pleased to see an adaptation of this story out in the public fold (I have yet to see 1982's version by Jeff Schiro), I am pleased to see the work of a filmmaker who is not only visually competent, but also clearly at home in his own style.

Much like The Stolen Wings, The Boogeyman unfolds in dreamlike fashion; we first meet our protagonist, the clearly disturbed Andrew Billings, in the office of Dr. Harper, a man who Andrew makes clear he does not necessarily trust, but with whom he feels compelled to share his story with. You see, Andrew is the father of three deceased children, all of whom perished under what the police believe to be accidental circumstances. Andrew, however, is convinced that there's a force far more sinister at work here and the scenes in the drab looking office are juxtaposed against his memories of a life that only he believed had nowhere to go but up. It is Andrew's voice-over that grounds the film-- though we may not know where in the world he may be going with this (we can only presume that the conclusion will be even more tragic than what he's already let on) we can only go along for the ride, never mind whether he's insane or not.

The Boogeyman is saturated in the same purple hues that gave The Stolen Wings such a mystical appearance. This stylistic choice works even more successfully here when one considers the much darker subject matter at hand. The original score by Cian Furlong is eerily arresting, imbuing the film with an appropriately melancholy atmosphere. This atmosphere in turn serves as the perfect platform for a series of both beautiful and startling imagery. The boogeyman himself, commonly regarded as the keeper of dreams and here presented with all of the misery that follows the average child murderer, creeps his way through each frame even when not actually on screen. His presence alone is felt and we, like Mr. Billings, find ourselves at the mercy of his eyes, which watch our every little move.

The film, in spite of the low production values that encumber many a short film, manages to lift itself up with a rather gorgeous confidence that snatches our attention the moment it gets going. This says a lot for a film that is heavy on dialogue and very low on action. The therapy session itself then assumes its proper role as the entire catalyst for the narrative rather than merely an extension of events that otherwise have already happened. Where one actor would simply approach the role of Mr. Billings with a rather droll air, Simon Fogarty excels at presenting our narrator as not only a deeply frightened man, but also as one hell of a god storyteller. It helps that Lough's screenplay gives Fogarty a lot of meat to sink his teeth into: We end up truly believing that he has gone through all the trials and tribulations that come with not only losing your children, but your marriage and quite possibly, your sanity.

Moreover, I highly appreciated this film because it perfectly embodied all of the fears that King explored in the original story in the first place. It is a tale not only about the creatures that go bump in the night, but also a tribute to the fears our once childish minds still grasp onto--at times with the strength of your average vicegrip--even when adulthood has long established that it's here to stay and you are well aware that these fears themselves are irrational. It is also a story about the fears of parenting and the love for one's children and the creeping terror, in the back of our minds, of our own failure in our duty to love, teach and most importantly, protect.

Mr. Billings is everything we don't want to be.

http://2or3thingsiknowaboutfilm.blogspot.com/


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