Boy Kills World: A Film About the Pitfalls of Self-Insertion and Underdeveloped Characters in Action Sequences

The action-packed “Boy Kills World” features intense scenes of violence that are reminiscent of the sensationalism seen in other fight sequences, such as the Frosty Puffs massacre. Cameras swiftly move over, under, and through crowds of armed characters as limbs break, bodies fly through the air, and blood is spilled in these violent sequences. The film connects all violence with video games, like the character’s inspiration from a “Street Fighter” game for his voiceover narration. However, these action scenes have a similar pace to spy movie parodies, prioritizing camera movements and impact over storytelling.

The filmmakers of “Boy Kills World” seem to insert themselves too much into the film, hindering the enjoyment of the action sequences. The meta-criticism within the film, such as Gideon’s frustration with an actor’s lack of feeling, adds layers of complexity to the narrative. However, these elements do not necessarily add depth to the overall story. The audience is not allowed to passively watch the film as they are actively engaged in following the plot twists in the third act that disrupt the Boy’s revenge plans without providing meaningful conclusions.

The lack of trust in the audience’s ability to connect emotionally with the film and underdeveloped performances of cast members are evident in “Boy Kills World.” While actors like Copley, Skarsgård, and Ruhian deliver their roles effectively, it feels like they could have been directed and scripted by Van Der Koys themselves. Overall, while there are some positive aspects of this action-packed thriller, it fails to fully engage its audience due to its excessive self-insertion and underdeveloped characters.