Boogeyman appears in an aspect ratio of approximately 1.85:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Not a great transfer but not a poor one, Boogeyman came across as perfectly acceptable.
Sharpness was generally fine. Some slight examples of softness occasionally interfered with wider shots, but those instances stayed minor. The majority of the movie came across as distinctive and concise. I saw no jagged edges or moiré effects, but some mild edge enhancement created a few haloes. Print flaws didn’t manifest themselves, though the movie’s darkness led to more grain than normal.
Supernatural horror flicks don’t lend themselves to bright palettes, and Boogeyman followed the kind of drab look one would expect. A cold tone affected the vast majority of the film, as almost no even mildly bright colors emerged. Overall, we got a chilly, unsaturated look that the DVD replicated well.
Blacks were sufficiently deep and dense, but shadows tended to be slightly heavy. This became something of a problem since so many low-light shots appeared. I expect that some of this stemmed from visual design choices, but I still found the denseness of these shots to became a minor distraction. Ultimately, Boogeyman presented a good but unexceptional transfer.
As one might expect from this sort of spooky flick, the Dolby Digital 5.1 soundtrack of Boogeyman mostly concentrated on general ambience. However, its supernatural bent meant that those aspects of the mix were decidedly more active than usual, and they resulted in a surprisingly effective track. The audio conveyed the desired creepiness quite well. Houses creaked and voices whispered all around us, and these pieces made things involving. The action sequences cranked matters up a notch and created real life. The whole film used all five channels to put us in the eerie action and I felt impressed with the way it worked.
Audio quality was positive. Speech consistently sounded natural and crisp, with no problems connected to intelligibility or edginess. Music was smooth and vibrant, as the score presented well-rendered tones. Effects clear and accurate. Bass response added a lot of pop throughout the flick, as low-end was nicely deep and firm. All this added up to a very strong mix that made the movie more impressive than I anticipated.
A mix of extras rounds out the DVD. The main attraction comes from the two-part documentary The Making of Boogeyman. Taken together, the two segments fill 34 minutes and 40 seconds. They include movie snippets, production elements, and comments from producer Rob Tapert, director Stephen Kay, and actors Barry Watson, Lucy Lawless, Skye McCole Bartusiak, Tory Mussett, and Emily Deschanel. The program follows the production’s genesis and route to the screen, how Kay came onto the project, the story and its themes, the participants’ childhood fears and the movie’s villain, the filmmakers’ approach to the subject and the influence of Japanese horror, the movie’s visuals and cinematography, set design, and casting and working on the set.
“Making” suffers from a bland presentation and an erratic path through the production. It depicts its information in a basic manner without any flair and fails to move things along in a brisk manner. That makes it plodding at times, though it contains a reasonable amount of good material. We get a decent overview of the production and related topics, so although the slow pace almost made me nod off, it featured enough useful data to merit a look. Note that the first half works significantly better, as the second segment often degenerates into praise for the actors and generic character notes.
Six Deleted Scenes last a total of 12 minutes and 44 seconds. Most consist of minor bits and don’t really go anywhere, but a couple good ones appear. For example, we get a flashback that shows how Tim’s mom disintegrated emotionally after her husband’s disappearance. We also get a five-minute and 57-second Alternate Ending. It doesn’t seem worse than the actual conclusion, but it doesn’t work better either.
Animatics lets us look at planning pieces for three scenes. We can check out “Opening Sequence” (three minutes, 51 seconds), “Missing Children” (1:09), and “Climax” (4:21). These consist of filmed storyboards accompanied by some audio elements. They give us a good look at the evolution of the shots and are interesting to see.
More behind the scenes bits show up in the Visual Effects Progressions. These cover four sequences: “Bathtub” (48 seconds). “Plastic Wrap” (0:44), “’What Are You Doing?’” (0:53) and “Climax” (2:02). These show the various elements used to make up the effects shots and provide a cool view of the different parts, most of which relate to the integration of the Boogeyman himself.
Lastly, the DVD includes some Previews. This area presents ads for Guess Who, DEBS, Man of the House, The Grudge, The Forgotten, Anacondas: The Hunt for the Blood Orchid, The Cave, Lords of Dogtown and Stealth. Oddly, the trailer for Boogeyman fails to appear.
While I didn’t expect much from Boogeyman, I found the movie to offer a pleasant surprise. It suffers from a mix of problems, most of which surface during its lame climax. Nonetheless, the majority of the flick provides a relatively deep piece of psychological terror. The DVD offers decent picture with excellent sound and a few decent extras highlighted by a collection of deleted footage. I don’t think Boogeyman is good enough as either a movie or a DVD to push for a purchase, but it works well enough to earn a rental.