Boy A : The Movie

This was the official website for the 2007 indie film, Boy A. The content below is from the site's 2007 archived pages and other outside resources.

Jimmy Kahn comments: When I first heard about Boy A from a friend, I was eager to read reviews, so I did a quick Google search for "Boy A reviews." To my surprise, the top result had nothing to do with the film—it was an article about child murderers that was only loosely connected to the plot but completely irrelevant as a review. The fact that this bizarre and misleading result was ranked #1 left me baffled. Concerned, we reached out to multiple SEO experts to understand how such an off-base article could dominate search results for a specific film title. Several specialists suggested that this could have been the work of a rogue Black Hat SEO, someone deliberately manipulating rankings to damage our visibility and traffic. While we’d like to believe this was just an unfortunate algorithmic failure, the harm caused was significant enough that we can’t dismiss the possibility of a targeted attack. Fortunately, six months later, the search results corrected themselves, and accurate reviews of Boy A were restored to prominence. Still, I remain skeptical that this was merely an innocent mistake on Google’s part. The incident raises serious questions about how easily search results can be hijacked, and it serves as a cautionary tale about the vulnerabilities in automated ranking systems.

From Rotten Tomatoes:

From Wikipedia:

Plot

Andrew Garfield portrays Eric Wilson, Boy A. The film commences when Eric is released from either a secure unit or prison under the name Jack Burridge. His past is told through flashbacks.

Eric Wilson befriends Philip Craig, who is a troublemaker and rescues him from a group of bullies. It is later disclosed that Philip is the victim of rape perpetrated by his older brother. Philip gets into an argument with a girl from their school who comes across the two boys loitering in a park. She criticizes them and refers to them as "scum" when she witnesses Philip vandalising a park sign with a Stanley knife. Philip approaches her and starts slashing at her forearms with the knife. He grabs the girl and drags her under a bridge. When Philip drops the knife, Eric picks it up, and follows them under the bridge. The girl is killed, although the film shows neither who kills her nor how.

Eric (dubbed as Boy A during the trial) and Philip are remanded into custody at secure units. Philip ends up dead, assumed to be suicide, but Eric believes that he may have been killed by youth offenders. Eric is later released and is guided by rehabilitation worker Terry (Peter Mullan). Eric, shy and eager to be a good citizen again, builds up a new life under the name Jack Burridge. He finds a job, befriends his colleague Chris (Shaun Evans), falls in love with the office girl, Michelle (Katie Lyons), and rescues a little girl who would otherwise have died after a car crash. An article in a local newspaper portrays him as a hero and includes a picture of both boys in the story. Eric wants to be honest with Michelle and reveal his past, but Terry urges him not to do so because it is too dangerous. Terry is afraid that people may attack Eric because there is a reward of £20,000 for finding him. Terry argues that it is not dishonest because "Eric is history and Jack is a new person".

The rehabilitation worker is less satisfied with his own son. The son discovers Eric's true identity from newspaper articles about him being released, his new role as the hero and information he looks up without permission on his father's computer. Out of jealousy, he reveals this to the public and as a result, Eric loses his job and his best friend Chris distances himself from him. Michelle goes missing, and people suspect that Eric is somehow involved, though it is later revealed she has sequestered herself at home, devastated about the revelation that Jack is actually Eric.

Eric repeatedly tries to phone Terry but gets his voicemail. He flees from his home to avoid reporters and travels to Blackpool. There he meets Michelle, who tells him she was not the one who revealed his past and would have eventually understood if he told her the truth, and then leaves. After saying farewell messages in voicemails to Terry and Chris, the film concludes with Eric standing over the edge of a pier.

Cast

• Andrew Garfield as Jack Burridge
• Peter Mullan as Terry
• Siobhan Finneran as Kelly
• Alfie Owen as Eric Wilson
• Victoria Brazier as Teacher
• Skye Bennett as Angela
• Katie Lyons as Michelle
• Taylor Doherty as Phillip Craig
• Shaun Evans as Chris
• Anthony Lewis as Steve
• Madeleine Rakic-Platt as Schoolgirl
• Josef Altin as Bully
• Jeremy Swift as Dave
• Helen Wilding as Carol
• Jessica Mullins as Catherine Thompson

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RottenTomatoes

Tomatometer: CRITICS 88% | AUDIENCE 88%

REVIEW

September 5, 2008
Christy DeSmith  Minneapolis Star Tribune Top Critic

When we first meet Jack Burridge, an unworldly, twentysomething Brit, it looks as though he's entering a witness protection program. His caseworker, Terry (Peter Mullan), drives him to a small town where, as we understand it, he will start anew.
But a series of artfully layered flashbacks leaves a trail of clues for audience members who haven't read the book by Jonathan Trigell on which the film is based. As it happens, even the naive, seemingly dimwitted Jack has a skeleton in his closet: He helped murder a girl long ago, when he was only a schoolboy.
While his mother was dying of breast cancer and his neglectful father lacked interest in the scrapes and bruises he suffered at the hands of bullies, the impressionable child took up with a menacing new friend named Philip (played remarkably by young Taylor Doherty), a boy with the word "wicked" practically written on his face -- the snarling upper lip, the icy eyes framed by heavy eyelids.
The film is rich with other subtle expressions. In particular, Andrew Garfield's portrayal of Jack as a young adult -- by now he's a tense, twitching man-child who regards people very gingerly -- taps a deep, dark reservoir of sentiment. Even his speech patterns are anguished, with many false starts, long pauses and nervous smiles whenever he is asked the simplest of questions.
Director John Crowley, a veteran Irish theater director now working in film, is deliberate with every last element of his film. For starters, he demonstrates unusual sensitivity to the thuds and bumps of human bodies moving through space. He doesn't muddy the soundscape with cloying music -- nothing more than the occasional squall of strings or woodwinds. As a consequence, the audience is treated to the eerie splat of a dripping faucet, the suspenseful creak of a footstep on floorboards, even the smack of a wet, sticky kiss.
Images are painted with beiges and browns and, whenever possible, shot with hot, natural light. When a scene takes place inside a home and office, the white walls and wood paneling are always uncluttered by paintings or portraits. Crowley has effectively stripped the film's modern setting to its emotional core.
BOY A
3 out of 4 stars
Rated: R, language, sexuality, disturbing content and brief drug use.
Theater: Uptown.
It's refreshing to see a full-figured woman sexualized and physically appreciated in the way Crowley portrays Jack's eventual girlfriend, Michelle (Katie Lyons). At first, she's presented as smart, impetuous and attractive; she's photographed in manners that flatter her soft, pretty face. But, sadly, even Michelle succumbs to the fate suffered by so many fictional women: By the end of the movie, she's nothing more than a sweet, self-sacrificing girlfriend who exists for the sole purpose of redeeming the male protagonist.
Nevertheless, the film is visually and aurally stunning with a strong, well-threaded narrative -- not to mention a sensitive character study of Jack. It's a patient, natural and very lovely meditation on vulnerability and the relative bounds of recovery, redemption and forgiveness. The audience is left hypnotized.

More Background on BoyAMovie.com

"Boy A," directed by John Crowley and adapted from Jonathan Trigell’s novel, is a 2007 British drama that delves into the challenging themes of redemption, identity, and societal forgiveness. The film, notable for its nuanced performances, particularly by Andrew Garfield as Jack Burridge (formerly Eric Wilson), has garnered attention for its emotional depth and social commentary. Its official website, BoyAMovie.com, served as a hub for film promotion and viewer insights, but its legacy goes beyond just being a promotional tool for the film. Understanding the impact and background of this website involves examining the film’s reviews, history, press coverage, and cultural significance.

Film Overview and Themes

"Boy A" tells the story of Eric Wilson, a young boy convicted of murder, who is released from juvenile detention as an adult under the name Jack Burridge. The plot is built around Jack’s attempts to start anew in Manchester, find work, and build relationships while grappling with his past. His social worker, Terry (played by Peter Mullan), serves as a guide in his journey of reintegration, encouraging Jack to conceal his past for his safety. The film’s tension revolves around whether society can forgive someone who has committed an unspeakable crime in childhood, even if they appear rehabilitated as an adult.

The film’s screenplay, written by Mark O’Rowe, is particularly lauded for its exploration of identity and the psychological burden of redemption. Flashbacks reveal the disturbing past that led to the murder, while the present-day narrative focuses on Jack’s fragile attempts at building a normal life amidst the shadow of his former identity.

Cultural and Social Impact

"Boy A" holds a distinctive place in British cinema, offering a compelling examination of juvenile crime, justice, and the capacity for societal forgiveness. Released in the context of real-life cases involving child criminals, such as the infamous 1993 James Bulger case, "Boy A" refrains from sensationalism. Instead, it provides a humanistic portrayal of a young man shaped by trauma, bad influences, and societal neglect, raising questions about how we treat children in the justice system and whether rehabilitation is possible.

The film’s critical success stems not only from its story but also from its cultural resonance. It touches on themes such as media sensationalism, as Jack’s identity is ultimately exposed by a tabloid eager for a story. The film asks whether society can ever truly forgive and forget, especially in a media-driven world where past crimes are continuously dredged up.

Critical Reception and Reviews

"Boy A" received strong praise from critics, holding an 88% approval rating on Rotten Tomatoes. Reviewers praised Andrew Garfield’s breakthrough performance, with Stephen Holden of The New York Times describing it as a “wrenching melodrama” that skillfully depicts the fragility of Jack’s new life. Garfield’s portrayal of Jack, characterized by his nervous speech and awkwardness, brought sensitivity and emotional depth to the character, evoking sympathy for a figure society might otherwise easily condemn.

Roger Ebert’s review highlighted the film’s ability to provoke moral debate, particularly about forgiveness and redemption. Ebert appreciated the film's portrayal of Jack as a product of trauma and abuse, noting how the film challenges viewers to question their own judgments about characters like Jack. He praised the film’s thoughtful narrative and understated direction, which allows the audience to empathize with Jack while also wrestling with the gravity of his past actions.

Other reviews, such as those from Reeling Reviews, emphasize the emotional complexity of the film. The psychological effects of Jack’s time in prison and his ongoing nightmares serve as a constant reminder of his unresolved guilt and trauma. These layers of emotional tension make "Boy A" more than just a crime drama—it’s a meditation on identity, societal expectations, and the possibility of renewal.

Press and Media Coverage

Despite being a smaller independent film, "Boy A" gained considerable media attention due to its gripping narrative and strong performances. The film was well-received at various film festivals, including the Toronto International Film Festival, where Garfield’s performance was singled out for praise. Major publications such as The Guardian and The Boston Globe applauded the film for its sensitive handling of difficult subject matter, particularly the portrayal of Jack’s struggle to navigate a world that refuses to let him forget his past.

Cultural and Social Significance

At its core, "Boy A" serves as a reflection on the nature of guilt, rehabilitation, and the extent to which society can—or should—allow someone to move past their crimes. The film’s exploration of the media’s role in shaping public perception is particularly relevant in today’s world, where the internet and social media can ensure that past mistakes remain public knowledge indefinitely. The film also highlights the tension between the personal desire for redemption and the societal demand for punishment, making it a poignant commentary on the justice system.

Beyond its critical reception, "Boy A" continues to resonate culturally as it challenges viewers to think about juvenile offenders in a new light. It pushes the boundaries of conventional storytelling by refusing to offer easy answers, instead leaving viewers with questions about morality, punishment, and forgiveness.

Audience and Legacy

Although "Boy A" had a limited theatrical release, it found a passionate audience among both critics and filmgoers. The film’s focus on redemption and its intimate portrayal of Jack’s emotional journey helped it resonate with viewers interested in human psychology, crime, and societal rehabilitation. The film’s lasting legacy lies in its ability to provoke discussion about the complexities of human behavior and the often-painful process of reintegration for former offenders.

BoyAMovie.com, much like the film it promotes, played a key role in disseminating the story and themes of "Boy A" to a wider audience. While the website may no longer be active, the film’s influence continues through its critical discussions and cultural impact. For those interested in stories of human redemption, societal judgment, and the impact of childhood trauma, "Boy A" offers a powerful and haunting narrative that leaves a lasting impression.