Brahms: The Boy II (2020) – Movie Review

Courtesy of STX Entertainment

“Brahms: The Boy II” is a bad movie. As a matter of fact, it’s quite an awful movie. But that doesn’t matter. Because at the end of the day, money is money. To the studios in charge, a good film that makes $50 million dollars is no different than a terrible film that makes $50 million dollars.

Perhaps the weird title is the film’s way of retconning the first “The Boy” movie. In 2016’s “The Boy”, which by this point nobody remembers, the twist was that the “boy” was actually a sociopath, not the supernatural entity we thought he was, lurking in the walls of the house, moving the doll to scare Greta (Lauren Cohan). And for some reason, “Brahms: The Boy II” is actually a supernatural film.

The same mansion the first film took place in is in this film. However, this time, the mansion feels less haunting. The twist in “The Boy” was a cheap trick, but the decision to change the series to supernatural horror takes away any semblance of tension that this mansion had.

Although both films rest at the same level of quality, the decision to undo this is questionable. What we end up with instead, is yet another film that is so confident in its jump scares it neglects to make an attempt at creating the psychologic terror in great horror. It’s frustrating for audiences to be fed this, but at the end of the day, it sells.

For better or worse, the film demonstrates its apathetic style of horror from the start. In a scene where our mom character Liza (Katie Holmes) is entering her home, there is an implication of the supernatural. Liza walks across her kitchen as strings create the suspense of a jumpscare. And in low grade horror film fashion, it turns out to be her son.

With each new horror film of this calibur, less and less can be said about them. What is there to say about a boring horror film that relies purely on jumpscares?

“Brahms: The Boy II” is a mass of dead energy, with its cheap jumpscares so frequent it could be compared to the explosions in a Michael Bay film. At the end of the day, one can only hope for a better future for horror films.

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