The Toybox (2005)

Best movie of this year hands down!

A different way of telling a story

an ambitious but ultimately ineffective debut endeavor.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

The Toybox is a superrealistic psycho-thriller that chillingly depicts how the effects of severe familial dysfunctionality combined with a possessive influence of the dark snaps the mind of a young impressionable man. The tale is told through stark counterpoints: Manipulative Jezebelian femininity couples with loveless male Ahabian tyranny and wimpishness. The holiness of Christmas and a village church is offset by dark machinations and violent murders. The sinister developments are suffused and lightened by comico-grotesque symbolism and events, almost hyperrealistic shots of nature's unadulterated beauty, as well as the redeeming sensitivity and pure good-naturedness of one of the characters. Evil is contained when the church and law-and-order come knocking on the door. Filters, lighting, camera movement sensitively enhance the moods. With incisive acuteness, the actors capture mankind in its highly grotesque and destructive moments.A good first work showing that the makers have fine observation skills, as well as a plethora of film tricks up their sleeves that demand to be explored further. A must for those who love satire and the study of the dark and disturbing human behavior.

Often, the mark of a good film is that you're still thinking about it for days afterwards...The Toybox has, more than anything else, a strong visual identity. Credit to both the director and DOP for creating such a sickly visceral quality, especially throughout the third act, that delivers on the unsettling quirks and occasional jump-starts in the first two. There's no doubt that this movie has style and energy to spare, and yet as the visuals come together stylistically, the narrative slowly becomes more and more disparate that it unravels into several unexplored and unresolved avenues. It's a rare situation, but the film suffers from a surplus of good ideas, with the script juggling too many plot strands and is ultimately unable to catch hold of them all come the climax.However, for a while at least, the intrigue of the back-story, and the marriage of ancient folklore and modern-day sensibilities holds the attention. Unfortunately, the post-production ADR hasn't been kind to the performances, and some of the clunkier dialogue sometimes grates and strains to convince. In fact, it's most often the case that the more senior members of the cast manage to hold the script together and create some memorably uncomfortable scenes (Conrad at the family dinner is a stand-out for cliché-fish-out-of-water fun).There are more themes here that would arguably be more interesting and effective to follow through on if explored fully - and some pretty dark elements at that. Obviously, there's the witchcraft element, but beneath that lies a suggestion of an incestuous desire, which goes on to manifest itself in jealousy and rage. Elsewhere, the relationship between the Grandfather and his Grandchildren, and the shameful secrets they share, offers another interesting angle. Whilst the implications of these sub-plots open up several avenues ripe for exploration, they get lost amongst muddied stories of folklore, murder and possession (story-strands that also get lost and confused).In essence, there are several other (and better) films trying to get out, which unfortunately have to compete and jostle for attention amongst the numerous other story lines involved in the film overall. Some of the more hokey elements aren't successful either, although sometimes, the visual quirks land a sucker-punch that the audience won't be expecting. But whilst the script sometimes lack coherence, the visuals smack of certainty, assurance, and a general comprehension of how to provide the requisite shocks and scares.Regardless of the script's shortcomings, the brutal and primal climax is cranked up for all the visceral and visual carnage it's worth. There are some beautifully scenic moments, which make the most of the snow-laden fields and stark environment. Yet somehow the director successfully creates the impression of a brooding claustrophobic malevolence in contrast with the landscape shots which result in some genuinely disturbing and affecting moments.As a calling card to the British film industry, the film makers have a lot of talent to offer, even if the source material sometimes lets down the assured camera-work and flair. For every miss (teddy's glowing red eyes, clowns in the toilet) there's a hit (literally and brutally, but to describe it would give to much away!) Give these boys a budget and source material to match their obvious talent and there's a definite treat in store. And although the plot is largely forgettable, the film has such a strong identity that it will linger in the memory long after the final credits have scrolled...

I didn't want to see this at first - my friend described it as a British low budget horror, which was a right turn-off.But I was pleasantly surprised - whereas most horror/slasher movies don't care about subtleties and characterisation, this was at the heart of what the Toybox set out to do. This film isn't your bog standard slasher, you need to pay attention and concentrate.There was a fair amount of laughter in the theatre at the start of the film. But before anyone got too cosy, things starting turning nasty and weird and the audience weren't sure whether they should be laughing. This is was when the film got really interesting.The acting was exceptional - but special mention should go to Suzanne Bertish and Heather Chisen who turned in marvellous performances. Also the photography was impressive, it certainly was a lavish production and didn't look low budget.There have been a lot of British horror movies coming on the scene lately. Do we have a movement in British horror going on? I hope so. And certainly The Toybox is among the best of the present bunch.This film played at the Rex in Berhampstead a marvellous recently renovated art deco cinema and it turned out to be a fab Sunday night out. Although I think the Q&A session afterwards was a bit of an own goal. These things are always rubbish, just a load of half-jokes and sycophantic laughter.

The film opens and at first not knowing what to expect I was a little dubious, the opening seems like a made for TV film which was putting me off but in the end it worked so well as it contrasted with the descent to chaos which occurs at this films climax. The camera work becomes more and more erratic and panicked, going to hand held it really gives a sense of claustrophobia to the film, a feeling I guess is quite integral considering the fact that I'm pretty sure the reason Brian goes mad is hes locked in a box for hours as a child.The scenes towards the end in Brians shed were some of the most atmospheric I've ever seen and even compared against larger budget films they hold their own, they reminded me in particular of the climax of "Apocalypse now". Maybe that was deliberate, I don't know but the film is full of literary references that adds to the strong story telling theme running through out the film and creates a great depth to it.The writing is similarly brilliant. Not knowing what to expect allowed me to be taken down every twist of Sedazzari's tale. I was left unable to tell where the truth began entirely and at what point the brother and sisters imagination left. Fairytale and psychological horror are entwined every step of the way to create a definitely original film that holds many surprises.The dialogue is blunt and honest, in all to many films characters speak as though they've been rehearsing their lines, Sedazzari's characters speak like people speak, with no flair, they speak directly as if they're thinking what to say as it happens and the outcome is all the more believable for it. The characters are also complete and even though many appear as somewhat stereotypical you are given reason as to why each is the way they are and by the end you sympathise with all of them and forgive them all for their laws, they are all victims of each other. All their faults belong to the hothouse effect of living together and no one is left predictable or one sided, none of them are to blame for being the people they are.I suppose if I should eventually round this up and come to some form of conclusion or judgement I'll leave you with this. At a point in time when their seems to be a new horror film released every week each as placid and unoriginal as the next not to mention predictable and shallow "The Toybox" is a breath of fresh air that I think "Brand New" films should carry on and if they go the way they are carve a name out for themselves.Definitely worth the journey!