Introduction
Horror fans are always on the lookout for fresh scares and chilling narratives, but does Bagman (2024) deliver? Directed by Colm McCarthy and written by John Hulme, Bagman tries to tap into the horror folklore trope, featuring an ancient, child-snatching boogeyman. However, does it set itself apart from other similar films, or does it fall into the same clichés that often plague the genre? This review will delve into Bagman’s plot, characters, visual aesthetics, themes, and direction to offer a comprehensive take on this horror flick.
Plot Overview
The story revolves around Patrick McKee (Sam Claflin), a father who, as a child, narrowly escaped the clutches of a malevolent entity known as the Bagman. This mysterious figure isn’t your run-of-the-mill boogeyman; he targets good children, abducting them and placing them in his sinister sack. Fast forward to adulthood, Patrick is now a father to Jake (Caréll Vincent Rhoden) and husband to Karina (Antonia Thomas). The family, grappling with financial struggles, moves back to Patrick’s childhood home. Strange occurrences soon plague their lives, and it becomes clear that Bagman has returned to haunt Patrick and his family, once again threatening to claim his son.
While the premise may sound intriguing, Bagman struggles with pacing. The first half of the movie is bogged down by a slow buildup, punctuated by predictable jumpscares and lackluster dialogue. By the time the story picks up in the second half, some viewers may have already tuned out. The non-linear storytelling attempts to add depth, but instead creates confusion, particularly in the transitions between Patrick’s dreams and reality.
Character Development
One of the film’s major downfalls is the lack of compelling characters. Sam Claflin’s Patrick has some complexity, given his traumatic past and protective instincts for his son, but even his performance can’t elevate the thinly written character. The script fails to give him meaningful dialogue or a true emotional arc. Antonia Thomas as Karina, unfortunately, is reduced to a stereotypical worried mother role, with little to no development outside of her reactions to the events happening around her.
Supporting characters, such as Patrick’s brother Liam (Steven Cree) and the local police, feel more like plot devices than actual people. Their lack of depth makes it difficult to care about their fates or understand their roles in the larger narrative.
Visuals and Cinematography
Cinematically, Bagman suffers from a lack of visual innovation. While horror movies don’t necessarily need large budgets to create effective atmospheres, Bagman fails to use its modest budget creatively. The daytime shots are clear and bright, which is refreshing in contrast to the dark, overly-filtered horror aesthetic that’s become common in recent years. However, the nighttime scenes, where the bulk of the tension should lie, are poorly executed. The use of flickering lights and shadowy figures feels more like a retread of old horror tropes rather than something fresh and terrifying.
The design of the Bagman himself is effective, though. His hooded robe and concealed face add an element of mystery and fear, and the practical effects used in his movements are appreciated. However, the tension that should come from his presence is often undercut by the clumsy pacing and unoriginal scare tactics.
Themes and Message
At its core, Bagman explores themes of parental guilt and the fear of failing to protect one’s children. Patrick’s desperation to save his son from the same fate he nearly suffered adds a layer of emotional depth to the film, though it’s never fully fleshed out. The film also touches on the idea of good versus evil, particularly with Bagman targeting “good” children rather than the “naughty” ones, but this twist on the folklore trope isn’t explored in a way that leaves any lasting impact.
In comparison to other films with similar themes, like Sinister or The Babadook, Bagman lacks the emotional resonance or psychological depth needed to make the horror hit harder. Where The Babadook uses its supernatural elements as a metaphor for grief, Bagman misses the opportunity to use its folklore in a more meaningful way.
Direction and Execution
Colm McCarthy, known for his work on Peaky Blinders and The Girl with All the Gifts, struggles to bring the same level of tension and intrigue to Bagman. The pacing is uneven, and the scares feel telegraphed rather than earned. Horror requires a balance of suspense, atmosphere, and character development to truly work, but McCarthy’s direction often falls flat, resulting in a film that feels more like a formulaic horror flick than a fresh entry in the genre.
Comparison with Other Films
When compared to similar horror films, Bagman unfortunately comes up short. For instance, The Boogeyman (2023), which also explores a folklore-based monster, offers better character development and more psychological scares. Even Baghead (2023), though far from perfect, brings more originality and unsettling moments than Bagman.
If you’re a fan of folk horror, The Witch or Midsommar provide richer atmospheres and deeper engagement with their mythological inspirations. These films utilize folklore to build tension and terror in ways that Bagman doesn’t quite manage.
Final Verdict
While Bagman has moments of intrigue and a creepy villain design, it ultimately fails to deliver a memorable horror experience. The lack of character depth, predictable scares, and uneven pacing leave much to be desired. If you’re a horror fan looking for something to watch, Bagman might serve as a mild diversion, but it’s far from a must-see in the genre.
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Watch the official trailer for Bagman (2024) here.
Recommendation: Skip this one unless you’re a die-hard fan of folklore-based horror and don’t mind a lackluster script. There are better movies in this genre that offer more depth, scares, and emotional payoff.
