It's noteworthy that this is the sole directorial credit of Patrick Rand, best known for roles as editor and production manager on a variety of films, and seemingly only one of two writing credits. I don't think it's entirely unfair to say that despite his experience in the industry, his inexperience as filmmaker and storyteller is reflected somewhat in the final product here. There is no abject flaw per se, but the pacing is a tad weak, or maybe "soft" is a more suitable word. As 'Mom' blends horror and comedy there are, surely enough, plenty of laughs of variable strength to be had throughout, and despite the pacing the vitality of the viewing experience ranges irregularly from merely "amusing" to more heartily "entertaining." The picture is very direct, leaving no ideas to the imagination neither as written nor realized, and love it or hate it we viewers are simply along for the ride. I do definitely enjoy this, for my part, though the gentle tone does diminish the thrills of it all, and I can understand how it may not meet with equal favor for all audiences.
Despite lacking some essential vibrancy, the movie is still well made in all other regards. Shawna Trpcic's costume design is sharp, and David Sperling's cinematography is smart and crisp. 'Mom' bears the look and feel of its kin from the 80s that we had just collectively exited, which is a fine compliment itself considering some of the terrific genre flicks the decade produced. The filming locations and sets are excellent, and the stunts and (light) horror violence to which we're treated are genuinely great. The practical effects are outstanding, from blood and gore, to creature effects, special makeup, and more. One would also be remiss not to mention the cheeky but superb sound effects that feed into the fun. And all that's to say nothing of the cast, who quite shine even in the face of the milder notes characterizing the presentation. Mark Thomas Miller doesn't have a lot of credits to his name, but he very ably plays the part of beleaguered Clay Dwyer, tired and frustrated in trying to manage and come to terms with his mother's unique condition. Brion James doesn't get a lot of screen time, but he gleefully chews scenery as Nestor. And among everyone else on hand, Jeanne Bates is unquestionably having a blast as stricken Emily, making the most of her role as she splits time between being a sweet old lady and a predator on the prowl.
The story explores territory that is broadly tried and true, but that doesn't make it any less solid, or any less appreciable. The characters are minor delights, Rand fills his dialogue with plenty of wry humor, and the scene writing likewise wonderfully twists together morbid levity and the more robust flavors of violence and dark secrets. Though the feature as we see it lacks punch, Rand otherwise illustrates firm capability as a director in general terms of orchestrating shots and scenes. Really, this is splendidly well done all around, with strong contributions from the cast and crew and admirable foundations in Rand's stewardship. The one thing 'Mom' needed was more bite, a surge of electricity to let all its horror and its comedy more meaningfully come to vivid life. When all is said and done I really do like this film, and I think it's well worth checking out; the last stretch is sufficiently strong to earn more of the esteem this otherwise has a hard time gaining - though further cementing the issue, the pacing is just all too restrained in the last minutes. Do watch 'Mom,' but don't go out of your way for it; so long as you don't mind the lack of potency, this is overall a good time and provides the genre seasoning we crave, if just not necessarily as much of it.
Despite lacking some essential vibrancy, the movie is still well made in all other regards. Shawna Trpcic's costume design is sharp, and David Sperling's cinematography is smart and crisp. 'Mom' bears the look and feel of its kin from the 80s that we had just collectively exited, which is a fine compliment itself considering some of the terrific genre flicks the decade produced. The filming locations and sets are excellent, and the stunts and (light) horror violence to which we're treated are genuinely great. The practical effects are outstanding, from blood and gore, to creature effects, special makeup, and more. One would also be remiss not to mention the cheeky but superb sound effects that feed into the fun. And all that's to say nothing of the cast, who quite shine even in the face of the milder notes characterizing the presentation. Mark Thomas Miller doesn't have a lot of credits to his name, but he very ably plays the part of beleaguered Clay Dwyer, tired and frustrated in trying to manage and come to terms with his mother's unique condition. Brion James doesn't get a lot of screen time, but he gleefully chews scenery as Nestor. And among everyone else on hand, Jeanne Bates is unquestionably having a blast as stricken Emily, making the most of her role as she splits time between being a sweet old lady and a predator on the prowl.
The story explores territory that is broadly tried and true, but that doesn't make it any less solid, or any less appreciable. The characters are minor delights, Rand fills his dialogue with plenty of wry humor, and the scene writing likewise wonderfully twists together morbid levity and the more robust flavors of violence and dark secrets. Though the feature as we see it lacks punch, Rand otherwise illustrates firm capability as a director in general terms of orchestrating shots and scenes. Really, this is splendidly well done all around, with strong contributions from the cast and crew and admirable foundations in Rand's stewardship. The one thing 'Mom' needed was more bite, a surge of electricity to let all its horror and its comedy more meaningfully come to vivid life. When all is said and done I really do like this film, and I think it's well worth checking out; the last stretch is sufficiently strong to earn more of the esteem this otherwise has a hard time gaining - though further cementing the issue, the pacing is just all too restrained in the last minutes. Do watch 'Mom,' but don't go out of your way for it; so long as you don't mind the lack of potency, this is overall a good time and provides the genre seasoning we crave, if just not necessarily as much of it.