मामा

Horror has been one of the least appreciated film genres nowadays for relying nothing more than the excessive amount of violence and repetitive jump scares, plodding the storytelling by its completely lifeless characters who are ready to get killed. Mama is something else however it still has those horror movie clichés, like those easy loud jump scares and some ghostly pathos, but there is a fascinating concept behind the scares that leaves the audience a beautiful story than just a cheap horror shock. It also has a set of strong performances and solid production. It could have been much genuine in being scary than simply loud but Mama is still one of the great horror films we got in a while.

Unlike most modern horror films, this movie's ambition is to tell a compelling story. Obviously there is a hidden emotion beneath the concept, but before we get to that, it explores around the characters and the gloomy atmosphere. Rather than throwing a horrific death scene to show fear, it scatters some symbolic objects that indicate the presence of the titular monster. It's a fascinating trick of manifesting its mysteries and fear. What defy the odds of the genre are the characters. They are not only ought to get scared. This is a rare set of modern horror characters that possesses a genuine soul. The performances handle them terrifically. There is a lot of remarkable performance to talk about but anyway. It's not only about the scares. It finely balances the drama to the darkness of the story. Personally, it's kind of more interesting when it simply tells the story of the two kids and the Mama ghost even though it features a horror cliché of ghosts telling their past to the central character. In the end, we'll realize the film actually offers more to the picture.

The only largest misstep they had is the excessive amount of loud jump scares. Though, they can be effective at some point. They still used some other ways of scaring the audience, like mimicking the clever horror trick of "The Orphanage" and letting the character be alone exploring the creepiness going on. It could have lingered on those parts to feel the danger of the characters, but instead they immediately send off a loud jump scare because it works to everyone. The film uses some CGI which made the monsters look a bit awkward but they are decent enough. Everything looks great in general. The cinematography and the production are a total pay off. It's just beautiful to look at.

Mama turns out to be pretty good. At glance, it doesn't look like the kind of horror film we usually thought about but furthermore we get to realize it is beyond than we should expect. The clichés still exists but they are used in a better way. Putting aside those cheap scares, it's a refreshing story that is indeed worth telling. It's still far from classic but it is also far from generic and annoying like most horror films we get these days. The performances and the filmmaking give more to the experience. Mama is the kind of horror film that abandons the gruesome acts and rather shows its dark aspects in a quite endearing way.

The title may be tacky, but this Canadian-Spanish co-production, with Guillermo del Toro lending his name as producer, is one of the better horror films to have come out from the West in recent years, despite being filled with the usual clichés, actually contain a proper story, and delivered really well in terms of chills, thrills and everything that's necessary to creep you out and make you jump at your seat. Co-written and directed by Andres Muschietti, Mama shows how it boils down to story, building upon his short film of the same name some 5 years ago, and a solid cast to gloss over the expected bag of tricks.

Many of the clichés were put to good effect, which in some ways you'd come to expect certain things to happen in a certain way, and they did. While it may be blunted in terms of anticipation and build up, it didn't shy away from delivering that sucker punch when required, and kept good work in framing and editing for maximum impact when the moment called for the unabashed dip into tried and tested elements. One thing you'll note is how assured Muschietti's direction is, as if doing it all for the very first time, with the aim of wanting to stir up its scares really well. Liberal use of CG also helped, but never done in slip-shoddy fashion, which added a layer of positive production values to the film.

I mean, there's creepy children, a ghoul that gate-crashes a reunion of sorts, and the usual spooky house no thanks to noises during strange timings, and the rote blinking of lights. All ingredients that you've seen utilized to the death in various horror film productions, but coming together really well in Mama, playing to the strengths of these elements while fiercely ignoring the negativity associated with lazier filmmakers who just slap these elements together, expecting them to work. It's not a special effects extravaganza when it's not required, and Mama showed just how its story and characters were allowed to lead, rather than to have strangely illogical moments, even for a horror film, fall coincidentally into place.

Jessica Chastain may be the latest IT girl in Hollywood, and it's encouraging to note she's really going all out to take on various roles in different genres, despite her more recent art house leanings of late. Here, she's the quintessential scream queen, albeit only just, given her role of Annabel being a rock star wannabe, sporting almost full body tattoos that betray a rather soft demeanour, when her maternal instincts get called upon to look after the nieces of her boyfriend Lucas (Nikolaj Coaster-Waldau). They were found after having disappeared for five years, which the opening sequence and credits would have pointed to an unnatural upbringing under the hands of the titular Mama ghoul. Battling for custody, it is with reluctance that the couple take the children under their wing, probably because Annabel knows she'll eventually be dumped with the kids, which did happen.

And the entire middle act is when the fun begins, for fans of horror films forking out good money to be entertained with the roller coaster ride of scares. Muschietti and his story collaborators Neil Cross and Barbara Muschietti managed to keep an entire back story up their sleeves, to reveal them in teasing fashion, which worked to keep you engaged throughout. And credit must go to Muschietti and his DP Antonio Riestra for having framed the initial introduction to the ghoulish elements that went for maximum WTF surprises, especially with sleight of hand techniques that didn't jar the narrative, nor relied on the necessity of a jump cut edit to hammer home its creepier moments. It grows, slowly, and that's one master stroke Mama had that worked wonders.

This is the second film in a row that had its child actors provide top notch performances. Megan Charpentier and Isabelle Nelisse play sisters, who with the aid of CG move around complete with unnatural mannerisms, having it in term to creep you out, before having to develop their characters into emotional cores that added a lot more depth to this film as it steamrolls its way to the finale. Andres Muschietti is the name to watch now for taking something that's expected to be cliché in a horror film, but fulfilled more than you'd bargain for. A definite recommend!

I liked the structure, design and vibe of this movie but everything else was kinda mediocre. It's basically a ghost haunting movie, of course the ghosts in different movies haunts for different reasons. But this one is a ghost haunting movie. Where two sibling kids that move like a spider Gollum especially the younger one that gets found in a small house in the woods. And a couple decides to take care of them because the guy feels responsible because they are the daughters of his brother who disappeared. And the 30yr old garage band girl who is the girlfriend of the guy because she feels that she needs to put up with it. This movie does a decent job of making a dis-likable character somewhat likable near the end. Like I said the structure, design and vibe adds a lot to the creepiness but when it comes to the story, it doesn't really stand out. This movie is much better than "Don't Be Afraid Of The Dark" which is another movie presented by Guillermo del Toro. But it doesn't reach the psychedelic dreamlike vibe that is creepy or even scary and yet beautiful although it tries to be. The film "The Orphanage" comes to mind.

6/10

When sisters Lily and Victoria are left in the woods after a series of horrific events leaves them orphaned, how would they survive for the next five years until they are eventually rescued? Have no fear, Mama is here. The debut feature from Spanish director Andres Muschietti has some plot hole, but still delivers the goods in a scary, almost poignant way.

In Mama, there are similarities to the American version of The Ring in the way some of the scenes are shot in that grainy, static, antiquated, black and white style. Horror/ghost film fans might think parts of the film are clichéd and they would be correct. However, the two sisters in the film (played by Megan Charpentier and Isabelle Nelisse) make for interesting viewing. As Victoria and Lilly, the two are feral creatures having lived in the wild the bulk of their lives. Even after being taken in by their uncle (Game Of Thrones' Nikolaj Coaster-Waldau, Lilly still prefers to run around on all fours, eat with her hands while on the floor, and sleep under her bed. Her speech is relegated to growls and grunts with a few words mixed in. Her big sister, Victoria has a faster time assimilating to the civilized world. She even begins to cozy up to her uncle's punk rock girlfriend Annabel (Jessica Chastain).

What makes Mama work is the relationship between the female characters. Chastain ( Take Shelter, Zero Dark Thirty) has the lead role. She's the girlfriend, but becomes the unwilling stepmom to the two girls. The girls accept her to different degrees, but still cling to each other first and foremost. They also cling to "Mama" and vice versa. Thus what you have is a battle of wills between the supernatural and the living world with the emotional and physical well being of two little girls hanging in the balance. Maybe the presence of Barbara Muschietti (sister of the director) as one of the producers and writers of the film had some influence on having women as the driving force.

In addition, Mama might feel and look like the style of Guillermo del Toro film. That could be because he executive produced the film. If you are familiar with his work, you can see his hand in guiding this maiden voyage. Even so, Mama stands on it's own merits. It's far from perfect. The acting, especially from the kids, some trippy and macabre imagery , and a bit of a twist might make you want to sleep with the lights on.

This is meant in a genuine and not at all malicious way. 'Mama' is not a bad film. It's also (this is all personal opinion, not objective) not a great film. It very nearly was and its potential was enormous, but this is one of the most frustrating recent examples of films of two halves.

'Mama' is absolutely great in the first half. It's genuinely unnerving with a good deal of suspense in the ambiance and build-ups, beautifully timed jolts and spine-tingling scares without resorting to cheap gratuitous gore to make their mark. There are many horror influences here but not in a cheap or predictable way, almost in an affectionate homage sort of way without it meaning to be. The titular character is an ominously creepy presence for most of the film, there is a real sense of danger lurking around the corner at any time. There is something very beautiful and poignant about the story-telling too, underneath the horror was something more than that with at first characters one could connect with and a vulnerable edge that comes over movingly.

On the most part, 'Mama' looks good. It's suitably unsettling but also beautifully shot with creepy and audacious production design and splendidly macabre and sometimes inventive visuals. For the first half of the film, a lot of thought went into the visual effects. The direction from Andy Muschietti shows successful attempts at taking risks rather than over-blowing things or taking it too safe, there is a lot of visual panache and a seeming appreciation for film not just of the horror genre but in general (some of it actually almost thriller-like).

Always look out for a good music score in film, being a musician and growing up in a musical family music is of great importance to me when watching film, television etc. 'Mama' has that, a lot of it is truly haunting while not being over-bearingly used.

Jessica Chastain may not convince as a punk rocker but gives a performance of intensity, steel and vulnerability. Have noticed that both here and in Muschietti's latest film 'IT' that he brings the best out of child-acting, something that has wildly varied in film throughout history. Because 'Mama' is one of the finer recent examples of child acting that is remarkably mature, poised, natural, affecting and sometimes frightening. All of which achieved by Isabelle Nelisse and particularly Megan Charpentier. Daniel Kash makes the most of his problematic nearly pointless plot-device role, while Mama herself is voiced to unnerving effect and even more so in action with Javier Botet.

Which is why it is such a pity that at the midway point 'Mama' feels like a different film altogether with a second half that brings things down. The scares become less frequent, the pace lacks its tautness, the dialogue gets confused and things start becoming predictable and contrived. Due to plot devices not properly followed through, things that don't add up sense-wise and some illogical character decisions.

The less frequent the scares got, Mama also diminished in the scare factor and was almost cartoonish and the effects start to lack finesse. Nikolaj Coaster-Waldau does his best but he is used terribly to the point that he is nearly completely wasted, despite his role in the story being important it's not treated as importantly as ought and fairly indifferently done in execution.

Faring least is the ending, which was unsatisfying on every level as has been said. It is just far too ridiculously outlandish, feels tacked on and it's also very vague in that it leaves questions without fully if at all answering them.

In conclusion, great first half but really disappoints in the second with a slap-in-the-face ending. A small 6/10, was very torn in what to give it having been so disappointed with its unevenness but its good elements and the first half were so well done that being too hard on it was a no-no. Bethany Cox