A Short Cut Movie Review is normally less than 400 words, but in some cases may go slightly over. This is my attempt to keep writing about as many films as I see without getting bogged down with trying to find more to say. They are meant to be brief snapshots of my reaction to a movie without too much depth.
In horror and monster movies it is generally understood
that what remains unseen is far more frightening than what a director can show
you. Jaws is one of the most famous examples
of this. Steven Spielberg couldn’t use the expensive rubber shark through most
of the shoot due to technical issues. The result is a terrifying film because
our imaginations fill in the gaps, conjuring horrifying images of the terror in
the water. Since then almost every monster movie has attempted to repeat the
formula to some extent.
In Mama, a
ghost story written and directed by Andrés Muschietti and co-written by Neil
Cross and Barbara Muschietti, a spirit watches over two young girls whose
father went off the deep end and was about to take their lives before the ghost
whisked him away. The girls are discovered five years later living animal-like
in a cabin deep in the forest. Put into the care of their uncle Lucas (Nikolaj
Coster-Waldau) and his wannabe rock star girlfriend (Jessica Chastain) their
maternal spirit protector follows them, jealously guarding them from any
outside influence.
What could have been a run of the mill scare-fest turns
out to be a tale of maternal instinct and jealousy, learning to love a child
unconditionally, and the mistakes of the past coming back to haunt us. I was a
little disappointed to find the movie, from which I expected more in the hands
of producer Guillermo del Toro, resorted to the old cliché of putting a young
woman in harm’s way by abruptly sending Lucas into a coma. But then I realized
this was a story more about the ghost than about those she’s tormenting and the
point is to show her feeling threatened by anyone who might take her place as
mother to the two girls.
There are some things that work, including some terribly
chilling moments, mostly achieved through Antonio Riestra’s cinematography
which makes excellent use of what we can’t see in the shadows. Unfortunately
there’s far more in the film that just didn’t work for me, including some plot
elements that make no sense, and the complete lack of suspense in the final act
mostly thanks to the reveal of ghost. There’s a psychiatrist character who is
officious and straight out of the horror movie screenwriting handbook with very
little of interest emerging from his mouth or actions. One thing I will say in
the film’s favor is that the ending doesn’t go in for the hackneyed sappy
conclusion. They were wise enough from a storytelling point of view to keep their
characters honest.
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