Boarding School

I have to say this was a very odd film. But I was blown away by two particular young actors: Nicholas J Oliveri and Christopher Dylan White. Never heard of either but extremely impressed by both. Luke Prael is very good too. But the only reason I am commenting at all on this film is because of awesome performance given by Nicholas and Christopher. You'll just have to watch it to see why,

This is a horrish,slasherlike bloodgore movie based on deceift and lack of parental love. it is a school film,but bends of very fast to not to be.lots of madness and why did they do that-feeling hits me during the watching. the teenage cast are really good,some of the performances are brilliant ,but itis damaged by a poor screenplay.the filmography and editing saves some of the glory.,it is not a rewatch for me.

The situation is where the horror lies in this film. This is about a boy who is on the verge of entering his teen years and having some trouble with facing his fears and coming to terms with his identity after the death of a grandmother he never knew. This results in behavior that is distressing to his mother and stepfather and he is sent to a boarding school in an attempt to "fix" him. The school isn't what it seems and he, along with other misfits, try to understand what is going on around them as strange occurrences seem to happen more and more frequently.

This is low budget but well done. The actors, especially our lead, did a fantastic job. The story is slightly shaky but I believe it could've been easily cleaned up with a better script. The camera work was well done with some really great shots deeper into the movie. For me, it seemed a bit long and it took a while for things to really get going but despite this, it held my attention throughout.

This was a pleasant low budget surprise. It deserves a recommendation. Give it a chance.

I would not class this as a horror movie. More of a psychological thriller with horror elements. It is a strange little movie, with some good performances, but as with many films these days, doesn't explain itself well. I don't think I'm giving away a spoiler when I say a young boy has a fixation with his grandmother, it's in the promos, But this is not really expanded on enough in the movie to make sense of. He is sent to an exclusive Boarding School and things start being a bit weird. The finale scene I just found puzzling, as there had been very little other reference to it in the movie. The young lead and main character does an excellent job in a difficult role, and helps to carry this to above average.

At once odd, uncomfortable, and compelling, BOARDING SCHOOL covers a gamut of dysfunction and does so with genuine panache. The whole production is downright weird in the very best possible way, and its 105-minute running time passes in a flash.

An ensemble of young actors portraying outcasts and misfits drives the story, and each brings something noteworthy to the film; however, one actor rises far above the others.

BOARDING SCHOOL is anchored by a courageous performance from young actor Luke Prael that commands the audience's attention from the jump and never loosens its grip.

Prael, approximately 14 years old at the time of principal photography, acts rings around older, more experienced cast members. He expertly presents a character that's complex and (in many ways and on many levels) ambiguous. On appearance alone, he could embody Wednesday Addams or Damien Thorn with equal effect, and his confident gender play and eerie mystique are simultaneously magnetic and disquieting. Do we like him, fear him, empathize with him, or all of the above? People can decide for themselves, but one thing is clear: He's the best thing about a movie with a lot going for it.

That includes the script. The screenplay is well written, well plotted, original, and offers a comic sensibility that's as dark as they come. It also offers an offbeat subplot tied to the Holocaust that fits fairly well within the main story arc. Thankfully, writer/director Boaz Yakin exercises restraint in ensuring the subplot remains both relevant and present while not getting in the way of the main story. Simply put, it's an enhancement that, while perhaps not essential, is certainly interesting to have.

My only criticism of BOARDING SCHOOL is that it's occasionally uneven in tone. Elements of horror, comedy, drama, and mystery all compete for space, sometimes clashing-but never enough to derail the experience.

The big critics aren't fans of BOARDING SCHOOL, maybe because they seem to insist on classifying it strictly as a horror movie. It doesn't fit neatly into that box. They also misread queer subtext as explicit sexuality. It's not, and it makes one wonder if that's -- whether they know it or not -- their chief complaint.

I'm not sure what critics were looking for, but this time, I don't see their point of view.