Not that WHAT isn’t important. On the contrary, it’s quite critical, ’cause, it’s the very origin of the action.

WHAT is it that you wanna say?

That a young lady is hired to babysit a doll – babysit a doll?? – and all that horrible stuff she goes through because of that one stupid decision she makes to take up that rather simple – or, simplistic – assignment.

The Boy

Sounds prosaic? The WHAT? But, hang on! The HOW isn’t discussed as yet.

The HOW part of THE BOY turns the table upside down. Totally.

Execution. There lies the key.

If the execution of the prosaic is top-notch, then the prosaic WHAT starts getting a magical sheen. No exaggerations.

The director (William Brent Bell), the protagonists (Lauren Cohan and Rupert Evans), the cinematographer (Daniel Pearl)and the music director (Bear McCreary)… all of them together bring such unimaginable credence to the doll that we actually start seeing the inanimate thingy come creepily alive, going about its unnerving act.

The key: It doesn’t matter what we do. What matters is how well we do what we do.

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