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Kísérteties alap, a végén egy félig elfeledett Wes Craven öregasszonnyal feldobva (neveket említeni súlyos elárulás lenne). Ez egy olyan befejezés, amely meg akar lepni és magával ragadni, de sajnos kevésbé működik, mint az azt megelőző szellemekkel végzett összes titokzatos munka. Csinos lány a főszerepben. (2016.03.10)

Nice thing, surprisingly nice, given the director’s work so far. This time he’s been able to elevate himself above the average. Even though The Boy takes place in modern times, it’s a bit of gothic-horror (loneliness in the English countryside, a large and scary house and the doll of a boy that holds something alive and probably sinister). Nicely shot, an eye candy, with a lead female whose behaviour fortunately doesn’t cause any fit of astonishment and ridicule. But it’s rather horror-lite only, don’t expect any intensive terror in any sense. Unlike others, I have no problem with the outcome, though it isn’t something you wouldn’t have thought while viewing, nor is it something we haven’t seen before. Almost four stars, but I think the experience fizzles out soon. (2016.02.17)

"The Boy" is simply a nice, average horror that came from the United States in some co-production. It tries to scare a bit, it tries for some mild originality, but in the second half, it's not strong enough to become a truly great horror. Instead, it is just a good average that won't offend you and that you will probably enjoy more in the cinema than if you watched it on television. (2016.05.02)

Lauren Cohan is nice to look at, and she obviously knows how to act. That’s about the end of the list of positives. There was nothing to build atmosphere from, Ben Robson as Cole was pitifully unconvincing, the script was dull and worn-out, and the doll wasn't scary (it doesn’t even begin to compare with the baby from Toy Story 3). Shortly before the end, the film turned into Friday the 13th. Finally, there was a twist – the ending was missing. Truly unconventional. Like a joke without a punchline. (2016.08.22)

A modernist blend of gothic horror, ghostly clichés and dozens of genre references. It certainly doesn't offend, and formally it's quite easily in a higher league (although the house itself looks more like a cosy fairytale palace than a haunted mansion with the suffix -ville in its name), but in terms of the level of experience, content manipulation or atmospheric build-up, the film is weak and bland. In the first hour, we witness a likeable attempt at a few novel scares and an original story that promises a great twist, but the fear of what is to come fails to escalate and the twist, which comes out of nowhere, degrades (though in someone else's eyes, perhaps shifts) the script into the realms of exemplary B-movie and multi-genre pathos. I won't spoil it, but such a character transformation of the whole narrative, although I'm generally not opposed to such an approach, doesn't fit well and felt like a kick in the groin. The most positive element in my eyes is the presence of the fine, lovely Lauren Cohan, who looks as good scared to death as after a hot shower in a tight towel. (2016.02.25)