On the surface, calling a horror movie The Boogeyman seems trite and lazy. A generic term for any scary and mysterious being, it has long been used in all kinds of storytelling. But when you see that the film is based on a Stephen King short story and written by the team behind A Quiet Place, more attention must be paid.

After a supremely creepy and disturbing opening scene, the film introduces its main characters: Will Harper (Chris Messina), a therapist, and his two daughters, Sadie (Sophie Thatcher) and Sawyer (Vivien Lyra Blair). The three are grieving the recent death of their wife/mother, with each coping in different ways. Will is now distant, Sadie sees her own therapist while still lashing out, and Sawyer must sleep with many lights on.

A visit to Will by Lester Billings (David Dastmalchian), a very disturbed man, seems to invite in a creature that thrives in darkness. That creature slowly tortures the two daughters psychologically, starting with Sawyer before moving on to Sadie. With Will checked out in general and Sawyer unable to help much due to her age, it’s up to Sadie to figure out what is happening and how to make it stop.

Directed by Rob Savage and written by Scott Beck, Bryan Woods, and Mark Heyman, the film takes the less-is-more approach, keeping the monster hidden in the shadows for much of the film. Scary things hiding in the dark is a tried-and-true method of horror films, but it works especially well here, chiefly because that terror is often seen through the eyes of the youngest daughter, Sawyer.

Putting kids 10 or younger in peril is not what most horror films typically do, but the effect of doing so is palpable, especially if you’re a parent. The opening scene sets the tone, and every scene involving Sawyer is as tense as you can get. Most of them involve her keeping a wary eye on her closet door or using a light-up model of the moon to expose dark corners, and her feelings of fear transfer easily to the audience.

The stories of Sadie and Will are a little harder to suss out. Sadie gets the most screentime, with awkward conversations with friends and investigations into the creature deemed the most important plot points. What the family was like before mom’s death is not explored much, so it’s difficult to understand Will’s state of mind, with him seeming to almost completely abandon his kids in their time of need.

Thatcher, who plays a character with a similar demeanor on Showtime’s Yellowjackets, does well in the de facto lead role, although the part is more low-key than your usual horror protagonist. Blair, who played a young Princess Leia on the Disney+ show Obi-Wan Kenobi, steals the movie every time she’s on screen; few kids her age could come close to what she accomplishes. Messina is a steady presence, but his character’s personality does him no favors.

By combining familiar elements, a story about a broken family, and some slow burn scares, The Boogeyman rises above its pedestrian title. It maintains its level of dread almost from beginning to end, a lesson that other horror filmmakers would be wise to learn.

Photo by Patti Perret

Sophie Thatcher in The Boogeyman.

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The Boogeyman opens in theaters on June 2.

Anybody who’s been married or in a long-term relationship knows that it’s almost impossible to be completely honest with his or her partner. There are always going to be moments – whether for the sake of expediency, in a show of support, or other reasons – when one person withholds their true opinion so as not to hurt the other person’s feelings.

That idea is the central tension point of You Hurt My Feelings, which follows Beth (Julia Louis-Dreyfus), a writer/teacher, and her husband, Don (Tobias Menzies), a therapist. Beth is in the middle of trying to get her first fiction book published, a process that is causing her unceasing anxiety. Don sees a series of patients, including a constantly-bickering couple (played by real-life husband and wife David Cross and Amber Tamblyn), and a few lapses cause him to question his commitment to the profession.

When Beth and her sister, Sarah (Michaela Watkins), accidentally overhear Don telling his brother-in-law, Mark (Arian Moayed), that he doesn’t like Sarah’s new book and is exhausted having to tell her otherwise, it sends Beth into an emotional spiral. The aftermath winds up pulling in not just the two couples, but also Beth and Don’s son, Eliot (Owen Teague), dredging up feelings that all of them normally try to keep hidden.

Written and directed by Nicole Holofcener, the film is a funny and genuine look at how even the best couples can run into pitfalls. By most measures, Beth and Don get along fantastically well, supporting each other unwaveringly and showing their love in a variety of ways. When the story puts them at odds with each other, there’s never a question that they belong together, as even their arguments are tinged with exasperation instead of anger.

Holofcener complements the story of Beth and Don with a nice variety of side plots, including Eliot trying to start his own writing career while working at a weed store; Beth and Sarah’s mom, Georgia (Jeannie Berlin), offering up support and criticism in equal measures; and more. Don’s patients and Beth’s students offer an opportunity to expand the two characters’ personalities outside of their marriage while also adding a few other funny roles.

While perhaps not the most insightful film about marriage that’s ever been made, it is still highly enjoyable thanks to Holofcener’s writing and the strong performances. Filmed in New York City, the particular feel of that urban landscape and the way it affects the lives of the characters also plays a big part in the success of the film.

Louis-Dreyfus, as always, is a delight to watch. A kind of spiritual sequel to her previous collaboration with Holofcener, 2013’s Enough Said, the film gives her plenty of room to show off both her comedic and dramatic skills. Menzies makes for a steady presence, showing good chemistry with Louis-Dreyfus and a preternatural calm in therapy sessions. Watkins, Moayed, Teague, and Berlin all fit in seamlessly.

You Hurt My Feelings is not a world-changing kind of movie, but rather a solidly-told story about how relationships can be complicated. With actors who are easy to like and Holofcener’s reliably great filmmaking, it’s a movie for adults that’s nice counter-programming to the glut of summer blockbusters.

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You Hurt My Feelings is now playing in theaters.

Photo courtesy of A24

Tobias Menzies and Julia Louis-Dreyfus in You Hurt My Feelings.

The biggest problem with the majority of the live-action updates to classic Disney animated films is that they haven’t been updates at all, choosing to merely regurgitate the moments audiences know and love from the original in a slightly repackaged form. That’s great for nostalgia, but if that’s all viewers wanted, they’d just go back and watch the original.

The Little Mermaid falls into much the same trap, although the filmmakers get at least a little credit for trying to offer something new. The story, of course, remains the same, as Ariel (Halle Bailey) has a fascination with everything above the surface of the ocean. Her rebellious nature, at odds with strict King Triton (Javier Bardem), leads her to spy on a ship with Prince Eric (Jonah Hauer-King) and his crew, putting her in position to save Eric when the ship crashes into rocks.

Now totally enamored of Eric, Ariel is convinced by the sea witch Ursula (Melissa McCarthy) to give up her voice for a chance to live on land and make Eric fall in love with her. Trouble is, despite the help of Sebastian the crab (Daveed Diggs), Flounder the fish (Jacob Tremblay), and Scuttle the seabird (Awkwafina), Ursula has no plans to let Ariel succeed fair and square.

Directed by Rob Marshall and written by David Magee, the film clocks in at nearly one hour longer than the original, going from 83 minutes to 135. They accomplish this feat with the addition of several songs, including ones “sung” by Ariel while she is without voice, a relatively clever way to get into her thoughts during that long stretch. There are also additional scenes that give Prince Eric more of a backstory, making him more than just a pretty face on which to hang all of Ariel’s hopes and dreams.

The new songs are hit-and-miss; Ariel’s “For the First Time” is a fanciful number that fits in nicely, but “Wild Uncharted Waters,” a solo song for Prince Eric, feels unnecessary, and the less said about “The Scuttlebutt,” a rap performed by Scuttle and written by Lin-Manuel Miranda, the better. What most people want to see are how the original songs are done, and they come off well for the most part. The actors’ voices are uniformly good and the staging is engaging.

Other changes seem half-hearted, at best. A vague environmental theme broached at the beginning is quickly dropped. The cast is very multicultural, but haphazardly so. The film is obviously set on and around a Caribbean island, making it natural for The Queen (Noma Dumezweni), Eric’s adopted mother, and other islanders to be Black. But giving Ariel “sisters from the seven seas,” allowing for mermaids of several different races and ethnicities, feels odd and forced, and a little creepy given that King Triton is supposed to be the father of all of them.

The fact that Bailey herself is Black, while great for representation, is neither here nor there in the context of the film. Bailey has a voice that is equal to everything she is asked to sing, and her silent acting is excellent in the middle portion of the film. McCarthy makes for a great Ursula, bringing both humor and pathos to the role. Hauer-King, who bears a similarity to Ryan Gosling, plays Eric in a more well-rounded manner.

The live-action version of The Little Mermaid, like almost all of the Disney remakes, never truly establishes itself as its own unique thing. Still, it’s a thoroughly pleasant watch with some nice performances, which clears the bar for success for this era of Disney history.

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The Little Mermaid opens in theaters on May 26.

Photo courtesy of Disney

Halle Bailey in The Little Mermaid.