Within the sleepy city of Riverton, legend tells of a serial killer who swore he would return to murder the seven children born the evening he died. Now, 16 years later, people are disappearing again. Has the psychopath been reincarnated as one of many seven teenagers, or did he survive the night time he was left for dead? Only one of many kids is aware of the answer. Adam "Bug" Heller (Max Thieriot) was presupposed to die on the bloody night his father went insane. Unaware of his dad's terrifying crimes, he has been tormented by nightmares since he was a baby. But when Bug hopes to save lots of his mates from the monster that's returned, he must face an evil that won't rest...until it finishes the job it began the day he was born.
Wes Craven is a really shiny man, which helps explain My Soul to Take a little bit. Only someone so good could make a film this stupid. He crams it stuffed with pseudo-legendary twaddle in regards to the symbolic meanings of condors and the implications of turning into a man, awkwardly wrapped round a half-baked rehash of A Nightmare on Elm Street. A lesser director would focus solely on the bloodletting. Craven lets his brains and his talent get in the way, turning a doubtlessly mediocre time waster into something infinitely worse.
It starts out with a modicum of promise. A schizophrenic serial killer--with six good personalities and one actually, actually evil one--meets his finish on the same night that seven new children are born in the close by hospital. (Nicely, he might have escaped, however no matter.) Sixteen years later, the small town of Riverton remembers his rampage with Ripper Evening, the place one of the seven children keeps vigil on the river bank to guard in opposition to his return. But when the shy, nervous Bug (Max Thieriot) falls down on the job, the Ripper returns… and begins searching down his young "soulmates" one by one.
Honest sufficient for a quickie little genre exercise, however My Soul to Take retains muddying the waters with uninteresting, uninteresting subplots. Craven takes us into the lives of his seven protagonists: misfits, bullies, drama queens and devout Christians struggling their way through high school on top of dealing with the dubious legacy of their birthday. Craven fancies he understands that stage in life, but as a person in his 70s, he knows lots lower than he thinks. You possibly can see the essential tropes of cliques, power performs, misunderstanding adults and the like, but the children right here mainly just undergo the motions. You possibly can swap them out with the big-haired 80s teeny boppers of Elm Street and not miss a beat.
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