Don’t worry if you’re afraid of the dark — nothing bad will happen. Just don’t look under the bed, in a drawer or at a chair, jacket, pencil or window.

Any of these actions may result in your being assaulted and kidnapped by the “Boogeyman,” or at least reminded of the film. Actor Barry Watson steps out of “7th Heaven” into hell as he plays the role of Tim Jensen, a paranoid college kid who is afraid of basically any dark corner or doorway after witnessing his father’s capture by the Boogeyman as a small boy.

Together with his childhood friend Kate, played by Emily Deschanel, Watson finds himself immersed in a “Twilight Zone” network of closets, defying space and time as he decides to go home and confront “the man” once and for all.

This tale of semantics may be one of the most shameless, cheap thrills to date, as it deals out bursts of shockers to scare instead of creating an actually chilling setting.

With almost no character development or plot, the film allows little time for people to settle in their seats before it begins its endless campaign to have someone leave the theater on a stretcher with a defibrillator in hand.

Even the title of the movie itself — blandly stated “Boogeyman” — is an accurate representation of its lazy attempt at a good horror flick.

However, a small stroke of talent lies in the film’s imagery. Some of the most macabre and horrifyingly beautiful shots of the year are found in “Boogeyman” — creating a surprising mix of some good and mostly god-awful.

Director Stephen T. Kay’s eye for a good visual is more than overshadowed by his inability to see the bigger picture, which left him with a dried-up story line and some of the worst one-liners in recent years.

Not helping the cause is the misguided Barry Watson, who blindly follows whatever he is told to do.

Combined with more loose ends than one would care to count, this film’s experience is entirely frustrating as these beautiful shots are left to the mercy of last-resort storytelling.

It is even more frustrating to think that if this film had an existent plot sung to the tune of a much better script, its imagery might have driven it toward the top of the year’s pictures.