Brahms: The Boy II (2020)
86 min|Drama, Horror, Mystery|21 Feb 2020
4.7Rating: 4.7 / 10 from 20,487 usersMetascore: 29
After a family moves into the Heelshire Mansion, their young son soon makes friends with a life-like doll called Brahms.

Brahms: The Boy II is a sequel to The Boy which was also made by William Brent Bell. The successful original film became the primary motive for the sequel production. Even though The Boy’s story was ended, what will the sequel story be like? In this era’s film industry, nothing is impossible. The star, Katie Holmes, who did not appear for a long time, now takes a role as the main character, acting in a genre she rarely has done before. Another familiar face is Ralph Ineson even though he only appears as a supporter.

After harrowing robbery experienced at their London apartment, Liza, along with her son Sean, suffered severe trauma. Liza often hallucinated in her sleep while Sean is no longer willing to talk. Together with her husband, they finally decided to move to a quiet rural area. Their new home was not far from the old house of the Heelshire family (told in the first film). As they stroll around the house, Sean discovers a male doll. Since the Brahms puppets, living with them, Sean gradually changes and strange things begin to happen. Fighting with her sanity, Liza finally realized that the doll was not an ordinary toy doll.

The sequel’s timeline is unclear after all the things that happened in the first film. There seems to be continuity that is separated from the story of the film. At the end of the first film, Brahms is still alive. Or not? Where is he now? The simple story in the first film suddenly becomes complicated. The supernatural side goes into the plot, which makes complete nonsense. From the start, the scenario was too common for the genre and easy to guess. The scheme has two options, is Brahms real, or is the mother hallucinating? I’m waiting for a surprise. In the end, a big zero.

Baca Juga  Planet of the Humans - English

Brahms: The Boy II is a sequel that is entirely unnecessary with a story approach that is too familiar for the genre. There is not one exciting aspect of the story or the artistic side. The first film at least had an effort to make something fresh, but the sequel has nothing. For horror fans, skip this one film, a waste of money and time.

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.


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