2022 SCREAMFEST REVIEW!
Oliver (Max Harwood) has just been released from a home where he’s spent far too much time, but he’s running the risk of having to go back. The only chance he’s given to remain free, with the ability to do as he pleases, is if he can make friends. Oliver, however, is The Loneliest Boy in the World, and he has no idea how to make friends. As he traverses the difficult terrain of life, he will do all that he can to keep his freedom and his sanity; and with new friends potentially just around the corner, Oliver has so much to look forward to.
The Loneliest Boy in the World is full of an impeccably talented cast, and they fill the shoes of their respective characters beautifully from beginning to end. Led by Harwood, the film manages to intrigue viewers not through technically sound acting, but through unique expression. Again, this cast is incredibly talented, but they aren’t asked to convey emotion in the typical sense, they are asked to be a tad cheesy, even campy–but it works for the overall tone of the film. Harwood, Evan Ross (Julius), Hero Fiennes Tiffin (Mitch), and everyone in between understand their assignment–and they never miss a beat. They bring this wild ride to life with great passion, and their silliness transcends the entirety of the film in a way that is appealing to viewers.
The satirical nature of The Loneliest Boy in the World appeals to viewers much like the acting does–as it looks to exploit the constructs of what a family is. Oliver, time and time again expresses to viewers that what we all see as the standard family is so far from reality. It rips apart the ideas of what a horror film can and should look like, it glorifies death, and it ultimately forces viewers to question everything they’ve ever known. What The Loneliest Boy in the World does better than anything else is force its viewers to evaluate everything and everyone around them. It’s sometimes difficult to find a horror film that works in the way that The Loneliest Boy in the World does, but Writer Piers Ashworth and Director Martin Owen create something worth a lot–and that in itself is a win.
What plays a major role in viewers understanding the comedy and the satirical aspects of The Loneliest Boy in the World is the juxtaposition of color. Just about everything inside of Oliver’s house is brightly colored, and it seems incredibly out of place. However, as the film progresses, and literal darkness creeps into his life, the use of color brings balance to the film. Without that balance of light and dark, I’m not entirely sure that the series of messages present throughout The Loneliest Boy in the World are ever fully understood.
The Loneliest Boy in the World will not appeal to everyone, and realistically I believe that it will only appeal to a very niche group of viewers. The silliness that permeates the entire film will hinder its ability to reach viewers who are incapable of seeing the nuances present throughout–but everything, if you’re willing to give the film a chance, works wonderfully. The film is well-constructed, and it works to get viewers thinking, questioning their own lives and the goals that they’ve set in place for themselves. Beyond that, the actors do a wonderful job of bringing Ashworth and Owen’s vision to life–and they should be inviting enough to keep viewers interested throughout.
Directed by Martin Owen.
Written by Piers Ashworth.
Starring Max Harwood, Hero Fiennes Tiffin, Susan Wokoma, Evan Ross, Tallulah Haddon, etc.
⭐⭐⭐⭐⭐⭐⭐/10
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