O Internato

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.

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 film is a very well done, well acted, and well written. It was great to see Will Patton and Samantha Mathis as the villainous antagonists, but the two huge standout performances to me were the young Luke Prael and Sterling Jerins. I recognized Sterling Jerins from the first two "Conjuring" films, but her role in those was much smaller in comparison to this film. It was nice to see her talents utilized in a bigger, more fleshed out role as the pretty but devious Christine. Luke was a great counterpart for her, even if his character's eccentricities weren't really explained more. I also would've like to see the oddly romantic friendship between the two of them expanded on. Despite these lacking points, "Boarding School" was a good horror/thriller movie and I hope it gets some sort of following in the future.

This is not your running around screaming getting slashed kind of horror movie - if it is a horror movie at all really. It certainly touches into the genre, but the story really crosses a lot of genre boundaries.

I found it compelling watching after the first five or ten minutes. You are not given all of the answers straight away - you have to wait - work it out for yourself - a gentle tease that keeps you glued to it.

The story is good, although there are a couple of parts that don't seem to fit very well initially, but make sense much later on.

The performances by the cast - especially the younger ones - is superb.

Well worth watching - but best suspend your expectations and enjoy the ride.

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.