The bulk of “The Boy Behind the Door” finds Bobby sneaking inside and—literally, quite routinely—hiding behind one particular door or another as he skulks about, trying to find his friend while outwitting his captors. As day turns to night and also the creaky house grows darker, the directors and cinematographer Julian Estrada use dramatic

Never a single to choose a single tone or milieu, Jarmusch followed his 1995 acid western “Lifeless Male” with this modestly budgeted but equally ambitious film about a useless person of the different kind; as tends to happen with contract killers — such since the a person Alain Delon played in Jean-Pierre Melville’s instructive “Le Samou