“Since you would not help her, you will see everything she saw,” while she died. A devout church girl falls for an unsaved boy. His childhood crimes range from blowing up chickens, dolls, watermelons and turkeys on the pier to double-daring another kid to ride a shopping cart down a dangerous ramp which ends up at the bottom of a lake (naked). Just as horned animals who aboded herds for centuries, so does this neighborhood child gang. Growing up, as the film flips to flashback style mid-show strip, a definitive theme of the analogy of a cherry bomb notwithstanding. Until he blows his hand off with the thing, only moments before, she stood in the church, white veil dress praying and lighting candles, her hair drifting all around her crown, ever and always secretly praying, quietly praying for gentle things and of tears which stream in the name of Jesus. She happens to notice, “So, you’re a Bowie fan too.” The two fell in love and started going steady together ever since as pre-teens. The tree house became them, as he won her and his friend lost out. But these days, as sin abounds and more he only dreams of the innocence of the past. At the funeral of the girl, deep in the woods, real dad admits, “The truth is I have not felt like getting out of bed in the mornings.” He said that all that mattered was her. But why? Films that try to make evil look cute or dark passion adorable more than puzzle one. How is evil as beautiful as truth? Of course, at least the feature boy of the story here has enough gusto to admit that if he murdered, he is a monster. One murderer runs free, while the innocent boy arrested. The film does also merit to repudiate the horror of young drinking and an after day of the sadness of forgetting what specifically took place during such an episode of drunken insanity. Well though, if only protestors felt as passionate about stopping real murderers as those who open up the film here toting protest signs. “Maybe the horns don’t work on human people. If I am this crazy, then I could easily have just blacked out and just killed Merrin.” Ig, whose horns a neolithic age symbol of exuberant sexuality & the attention and admiration of man, a sad statement for youth who want so bad to be lauded that they falsely believe murder a way of achieving fame. However, the misnomer many forget to recognize is that they are quickly forgotten once arrested, convicted and safely stowed away ~ So Ig accused of harming his own girlfriend who raped and murdered in the woods ~ Ignatius (Ig) no less than two weeks after her death, immediately finds a new squeeze. Everyone here indicates this as well, as normal, everyday behavior. That, and while the love of his life begins having an affair with another man while actively living in a marital-style relationship with Ig, people begin to confess their deepest sinful desires to the horned boy Ig (Daniel Radcliffe). And as if the devil horns that had just begun to sprout from both sides of the crown of the boy just accused of murder do not seem enough, the irreligious identification and the foul language do what a rebellious child heinously fails at. Everyone is afraid of him. “I didn’t kill her father (priest),” the boy with the horns admits. And while the young man contends innocence, the twisted atrophy of comparison gets more demented as the screen scrolls by, it is hard to understand what the director is saying. That God condones sin, or that the devil is good, some of the strange religious ideals such as those exhibited by deep comparison regarding the film, Rosemary’s Baby appear during the film. So, perhaps the director just wanted to make a good, light-hearted horror film. “Every time I see you, it makes me so unhappy. And I don’t want you to be my son anymore. Are you gonna go away?” His mother asks. She was my favorite thing about you father says. You loved her so much, you lost her. Throughout the film the boy cusses like a sailor, foul behavior seems also to be made to seem like the norm, rewarded as opposed to discouraged. He remembers the day the love of his life broke up with him. At the diner, and she told him, it was different when they were kids. Now they are adults she tells him, and the need to plan commiserate. An aesthetic field of red-lacquer and silver shine paint as the set-prop of the eatery do not make his emotional pain of losing her any easier. She breaks up with him at Eve’s Family Diner. The film is both assuring & confusing on many levels. He woke up from a hard liquor hangover, the pub on fire, as if to say that while not every criminal is guilty, every proud, in hiding & unrepentant murderer is a criminal. Rated R.