Between the end-of-year launch of vacation blockbusters and the Oscars in February, there’s a clumsy interval within the movie trade the place main studios sometimes dump their low funds, low-potential crap that nobody desires to see. With the media extra inquisitive about protecting the awards present nominees and audiences much less apt to spend cash on movies after an costly vacation season, this trash — rubbish, if you’ll — might be subtly dropped into theaters and subsequently forgotten with little or no unfavorable press within the course of. We’re at present in the course of this era.
The Bye Bye Man, directed by Stacy Title and written by Jonathan Penner — and, paradoxically sufficient, sporting an terrible title and a poorly-penned screenplay — is the quintessential January flick, full with drained cliches, a degree of scariness that rivals your common Nicholas Sparks novel, and a devastating lack of intentional humor or self-awareness. It takes after current January horror/ thriller flops equivalent to 2016’s The Forest, 2015’s The Boy Subsequent Door, and 2012’s The Satan Inside and even builds upon their huge diploma of god-awfulness in an egregious triumph of stupidity that may make Adam Sandler blush.
With a reputation like The Bye Bye Man and an IMDb rating that at present stands at three.eight out of 10, I went into this film with extremely low expectations. Had there been a number of strong leap scares, some first rate suspense constructing and a pair halfway-believable performances by the primary solid, I’d’ve been pleasantly stunned and mentioned a number of good issues on this evaluate. However the sheer ineptitude of this movement image has left me at a loss for good phrases — your complete most important solid couldn’t declare supporting roles in a highschool play, the soundtrack is woefully out of contact with the film’s tone, the costume design of the first antagonist consists of an affordable Halloween costume and a few PlayStation 2-grade CGI, the dialogue holds no goal apart from to offer pointless exposition and the characters are by no means fleshed out past surface-level stereotypes (jock womanizer, oblivious however well-meaning boyfriend, untrue and shallow girlfriend). I’d say the mere 96-minute runtime was a welcome shock, however my unceasing boredom led the expertise to really feel about so long as my marriage to my third ex-wife. (Badum-tss, dad joke.)
For those who’re nonetheless studying this, I’m not totally positive why. The film sucked, you possibly can’ve figured that one out early on. For those who’re right here for literary curiosity, and also you wish to see what intelligent conclusion I’ll suppose up this time, properly too dangerous. An underwritten film deserves an underwritten conclusion. Skedaddle.