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Boys in the Trees

Boys in the Trees

Drama · Horror · Thriller · 2016

On Halloween 1997, two estranged teen skaters embark on a surreal journey through their memories, dreams and fears.

Movie details

Boys in the Trees

“Nobody gets us... that's half the fun”

2016 Drama · Horror · Thriller 1h 52m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

On Halloween 1997, two estranged teen skaters embark on a surreal journey through their memories, dreams and fears.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Boys in the Trees?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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In 1978, two rival groups at Camp Nightwing must band together to solve a terrifying mystery when horrors from their towns' history come alive.

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Several friends travel to Sweden to study as anthropologists a summer festival that is held every ninety years in the remote hometown of one of them. What begins as a dream vacation in a place where the sun never sets, gradually turns into a dark nightmare as the mysterious inhabitants invite them to participate in their disturbing festive activities.

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Halloween

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A Nightmare on Elm Street 3: Dream Warriors

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Names above the title

The people responsible.

Directed by

Nicholas Verso

Written by

Nicholas Verso

Toby Wallace

Toby Wallace

Corey

Gulliver McGrath

Gulliver McGrath

Jonah

Justin Holborow

Justin Holborow

Jango

Mitzi Ruhlmann

Mitzi Ruhlmann

Romany

Terence Crawford

Terence Crawford

Mr. Matheson

Tom Russell

Tom Russell

Grunge Rocker Gromit

Georgie deLaine

Georgie deLaine

Dierdre

Court is in session

Put Boys in the Trees on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.