Little Timmy Jensen is your typical 10-year-old kid who's afraid of the big bad Boogeyman lurking in his closet. But one night when Timmy's dad comes in his room to do the usual "Nope nothing's there" routine he opens the closet-and right before Timmy's eyes is immediately sucked in by some unknown malevolent force. That's got to screw with a kid's head. Now 15 years later Tim (Barry Watson) is indeed messed up inherently apprehensive of closets and the dust bunnies under the bed but trying to move on with his life. That is until his mother unexpectedly dies sending Tim back to the point of origin: his dilapidated childhood home in the sticks. He decides he'll spend one night in the house to get over his fears once and for all and accept the fact his dad just "left." Ah if it were only that easy.
When the entire film rests on the shoulders of the guy who played the oldest son on the WB's 7th Heaven you know you're not in for anything meaningful in the way of acting. But that's fine. Horror films of this nature aren't about good acting. They are about dumb folks walking into even dumber situations. Watson fulfills his duties as said hero nicely by a) looking fearfully at and inside a lot of closets and under a lot of beds and b) walking cautiously around empty houses. The rest of the unknown cast also do their best as the Boogeyman's victims and potential victims. They include Tory Mussett (The Matrix Reloaded) as Tim's cutesy girlfriend Emily Deschanel (The Alamo) as Tim's long-lost childhood sweetheart and Skye McCole Bartusiak (The Patriot) as a mysterious little girl who guides Tim in the right direction to defeating the Boogeyman. Clever girl.
OK it's sort of understandable how Boogeyman got made. The film's premise has a built-in scare factor that's tapped into our childhood fears of the darkened closet. Yet once you get past this initial idea there just has to be more substance than Boogeyman provides. Director Stephen T. Kay (Get Carter) goes through all the right motions setting up the camera to make it look as if the Boogeyman is lurking everywhere you turn. But it's a very very long buildup to the climax. After about the 1 000th close-up shot of a closet door you're ready to jump onscreen and churn up some good scares yourself. By the time the anticlimactic showdown actually happens you already have your foot out the door just thankful it's coming to an end.
The film begins with an unsatisfactory rendezvous between a prostitute (Vera Farmiga) and a brutish carpenter named Eddie (Domenick Lombardozzi) who is unable to perform. It then follows Eddie to the Manhattan apartment of Ellen (Jill Hennessy) a wealthy but neglected client who wants to sleep with him because she thinks her husband is cheating on her. Later that night Ellen tells her husband Robert (Malcolm Gets) "I want to sleep with other men." He answers "So do I." The story then switches its focus to Robert and the object of his desire an artist named Martin (Steve Buscemi). Martin rebukes Robert's advances at first but ultimately gives in. Then Martin becomes the pursuer when he makes advances on a beautiful art gallery receptionist Anna (Rosario Dawson) who eventually sleeps with him. She confesses the infidelity to her boyfriend (Adrian Grenier) who then turns to an older woman Joey (Carol Kane) for comfort until she frightens him off with her desperation. Alone Joey finds herself giving comfort in the form of phone sex to a suicidal Wall Street embezzler named Will (Michael Imperioli). Will then ends the night with the prostitute from the opening scene.
A film like this must be a dream scenario for actors--an ensemble piece that allows each player to be the main character for a short amount of screen time. With the possible exception of the unfortunately miscast Steve Buscemi who seems overly awkward in his love scenes with both sexes the diverse ensemble of actors assembled here are clearly up to the challenge. The nine principals are meant to represent a mixed bag of races ages classes and disciplines ranging from stage to television to independent film and the anecdotal structure gives each of them a chance to shine. Some shine a little brighter than others however. Dawson Grenier Kane and Imperioli in particular stand out in their respective roles during the latter half of the film. This is not to say that the rest are lacking. It's just that there is only so much that can be done with the material which is sluggish at times and laden with heavy dialogue that can be difficult to deliver believably. As a whole the talented cast does the best they can with what they are given.
When writer/director Peter Mattei set out to depict the vapid and money-obsessed world of the 1990's he looked to Arthur Schnitzler's classic stage play Reigen for stylistic inspiration. The play follows one character after another in a series of overlapping vignettes in which each character seeks out some sort of sexual conquest. Mattei emulates that structure in Love in the Time of Money but never manages to escape the play's theatrical roots. The film relies heavily on dialogue with little intriguing visual imagery that couldn't be done on stage. Although the digital video format is well suited to the material Mattei fails to take full advantage of the rich New York background favoring nondescript streets anonymous alleyways and common restaurants that could exist in any city. Another limitation of the multiplot design is the inability to get more than a cursory glance at any one of the nine characters. There is scarcely enough time in each story to introduce them let alone fully explore what makes them tick before the film moves on to the next person. All that is presented are the broad strokes of their desires and actions without any depth or background to give them context. It's a noble experiment but one that ultimately fails to be compelling.