The horror genre is ripe for exploring the intricacies of the #MeToo experience in a very visceral way, as we’ve seen most recently in films like “The Invisible Man” and “The Perfection.”
But when the theme is shoehorned into a narrative seemingly only in an effort to comply with the cultural dialogue, it becomes an uncomfortable and awkward viewing experience. That’s what happens throughout writer-director Carlo Mirabella-Davis’ “Swallow.”
There are really two contending films inside “Swallow” that, if given the opportunity and the space to do so, could have been fascinating as separate entities. Instead, Davis opens his narrative with an interesting premise perfect for its off-kilter horror indie veneer — a newly pregnant suburban housewife (Haley Bennett) who starts inexplicably ingesting inedibles (think crayons and batteries). Right away, this begs myriad questions: Is she trying to kill herself? Is she trying to kill the baby?
Also Read: Christian Bale,...
But when the theme is shoehorned into a narrative seemingly only in an effort to comply with the cultural dialogue, it becomes an uncomfortable and awkward viewing experience. That’s what happens throughout writer-director Carlo Mirabella-Davis’ “Swallow.”
There are really two contending films inside “Swallow” that, if given the opportunity and the space to do so, could have been fascinating as separate entities. Instead, Davis opens his narrative with an interesting premise perfect for its off-kilter horror indie veneer — a newly pregnant suburban housewife (Haley Bennett) who starts inexplicably ingesting inedibles (think crayons and batteries). Right away, this begs myriad questions: Is she trying to kill herself? Is she trying to kill the baby?
Also Read: Christian Bale,...
- 3/3/2020
- by Candice Frederick
- The Wrap
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