Horrible
Moms!
By
Kristin Battestella
These
moms and grans be they retro or recent turn to the ax and knife or
kidnappings and other horrors to show their undying, demented love.
Funeral Home – A teen helps turn her grandmother's mortuary into a
bed and breakfast in this 1980 Canadian spooky with eerie
silhouettes, broken down trucks, and black cats on the bridge. The
country quaint seems pleasant – a fine manor, mom's old room with
dolls, floral wallpaper, and nostalgia – but the family must let
out the home to keep it since our undertaker grandfather apparently
abandoned the parlor several years prior. A not very bright handyman,
bumbling police, and a car owned by a reported missing realtor create
suspicion among the cows, hay bales, and hick farmers as more snobby
guests and hillbilly suspects populate the house. Stormy nights,
hissing cats, and voyeurs at the window pane have everyone on edge
amid downstairs whispers and a basement full of unused coffins and
hidden rooms. Kooky old ladies, spooky barns, a disused Hearst, and
mysterious necklaces invoke more mood as the gothic interiors and
funeral home décor lingers – the slumber room, organs, artificial
flower arraignments. The introductions happen quickly, but the
mystery sags until skimpy swimming, saucy goading, night time
cruising, quarry cliffs, and vehicular disasters. Grandma won't have
anyone immoral or sinful staying at her house, but no one takes the
hometown cop seriously amid the eavesdropping, gossip, and guest
fatalities. Gross jars, cobwebs, and cemeteries set off freaky child
funeral flashbacks with memories of kids locked in with the dead
bodies by her nasty embalmer husband. Forbidden areas and talk of the
undertaker actually running off with another woman lead to
flashlights, bludgeonings, and dumping the victim inside another
freshly dug plot. More red herrings, plastic sheeting, and violence
rush to the final basement surprise, which, though derivative,
remains sad and disturbing. Although the pace is uneven and the poor
VHS print is difficult to see thanks to some rough day for night
coloring and dark photography, this is fun and atmospheric for a late
night marathon.
Serial Mom – Kathleen Turner (War of the Roses) stars
in writer and director John Waters' (Hairspray)
1994 Susie Homemaker satire with based on a true story winks, angelic
credits, birds chirping, and an idyllic kitchen where fruit salad is
the snack of choice. Chewing gum is obscene compared to the
fifties-esque golly gee with a dentist husband, a son named Chip, and
a daughter in college who enjoys swap meets. Mom's holding the cereal
in product placement position but a fly in the butter, its bloody
splat, and the tightly wound sadistic contrast the breakfast
perfection, floral wallpaper, sunshine, sewing baskets, and PTA
fruitcakes. Retro button up styles, Betty Page saucy, and older
Victorian décor add to the eighties nostalgia with gear shifts on
the steering column, corded telephones, cassettes, VHS,
and a Joan Rivers talk show on the big boob tube. 9:37 a.m. and it's
time for foul mouthed split screen prank calls to the local parking
spot stealing divorcee before gruesome accidents running over a
school teacher complete with an innocent music montage and a trip to
the car wash. After baking cookies, prayers, and tame pillow talk,
there's newfound moaning excitement, but dental emergencies and
ruined bird watching plans lead to spying with binoculars and killer
scissors impalements. Nosy
detectives, a filthy neighbor who doesn't recycle and thus
contributes to the annual deficit, and drinking with the trash men to
gain their allegiance layer the parodies on family, generational
clashes, films being a bad influence, and life's little naughtiness.
Eating sweets against doctor's orders, changing the price tags at the
market, selling overpriced damaged goods, bathroom graffiti, stabbing a philander with a fire poker and getting his liver
stuck on the end – where's the line between innocent slights and a
fatal bludgeoning with a burned rack of lamb? Our classy lady isn't
exactly good at covering her tracks, leaving bloody weapons,
fingerprints, and witnesses on top of her killer scrapbook under the
mattress. Grace before dinner and pearls for church begat killing an
old lady watching Annie just
because she didn't rewind, and singing along during station wagon
chases anchor debates on whether the Mrs. needs a lawyer or an agent.
The slighted causes, pursued victims, and twisted kills are filmed
with horror suspense, yet there's a certain bemusing to the no
wearing white shoes after Labor Day sinister, a sensational,
celebrity likability. It's a razzle dazzle trial like Chicago
says – our daughter is selling
t-shirts at the court house, Chip sold the TV movie rights to Suzanne
Summers, the cheering crowd admits they'd like to kill a few people
themselves, and, well, Patty Hearst is one of the jurors. The dark
wit, social exposés,
and cheeky performances here take multiple viewings, and the
humorously horrible satire remains relevant in reflecting our love of
making true crime famous.
Split
Decision
Amityville: The Awakening – Single mom
Jennifer Jason Leigh (Single White Female)
moves her three kids to 112 Ocean Avenue in this 2017 release
co-starring Kurtwood Smith (That '70s Show)
and Bella Thorne (Big Love).
Contemporary hip music and a driving montage lead to the creepy abode
with old furniture, creaking floorboards, a barking family dog, and a
complaining emo teen. Her comatose twin brother is bound to a medical
bed complete with hospital equipment, beeping monitors, injections,
and life supporting tubes, but mom refuses to accept his vegetative
state despite medical gear failures, distorted pulse rates, and a
contorted, irrevocably twisted body. 1974 newspapers summarize the
DeFeo murders, however the family has supposedly moved to the
infamous home unaware – an unrealistic premise when there are
literally twenty Amityville movies – and the focus here should be
on the mother's will do anything dilemma rather than the of the
moment teen cool, cheeky panties, and new friends who are essentially
Amityville fans. When did every kid in school become goth? How was
she not Zillow studying their new address before the move? Why does
nobody have a cellphone? The first twenty minutes about people who
don't know they are in a horror movie learning of the setting's real
world horror is too disjointed, and the attempted meta borders on
parody as those school kids provide the original DVD, explain the
prequel follow up, and nix the remake before begging to watch The Amityville Horror in the very
house at 3:15 a.m. – and yes, James Brolin makes an appearance on
their big screen television. Windows opening by themselves, swarming
flies, double take shadows, reflections, and peeling wallpaper with
something bloody underneath build better simmer, but dream scare fake
outs hurt the flickering power and silent door creeping because the
plot is so within within the lore that the audience can predict all
the contrivances. Rather than fully utilizing the more interesting
mother, the misplaced chasing of the mainstream teen element
backfires with watered down horror compromising what could be
seriously good body twistedness, technological possessions, and
medicine meets ouija board. It's chilling when a man's voice tells
the little girl to come closer, but the viewer can't stay on edge
amid some kind of brother defending against an ex posting nude
pictures impetus and “Belle” Thorne doing little more than
playing herself. Characters themselves say the magic circle tropes,
bible quotes, and forty year anniversaries are stupid, and the hot
sister angst is unnecessarily placed above the vegetative son in fear
and their deluded mother. This was originally filmed in 2014, and
behind the scenes turmoil, delayed releases, and probable bumfuck
Harvey ass interference shows thanks to poor CGI late, PG-13 cutaways
to the famous facade, and finale cheating with a wrap up newsreel.
While the creaking contortions, red room healings, and shotgun
horrors are watchable compared to other umpteenth Amityville movies,
one has to have few expectations here, for this ultimately falls back
on its franchise safety rather than embracing any potentially fresh
aspects.
Didn't
Finish It!
Emelie
– A quaint street and asking for directions leads to abductions in
this 2015 thriller starring Sarah Bolger (The Tudors). Short
notice babysitter switches and rowdy kids aged eleven, nine,
and four are both slow to meet the family and busy with assorted
video games, handheld gizmos, computers, and Facebook talk. Although
there's a bizarre lack of cell phones, our dad can pick up the teen
babysitter and chat up his restored classic car in creepy
conversations that don't go unnoticed by his wife. The eleven year
old doesn't want to play little kid games anymore, and the parents
talk to him about stepping up and being the big brother while the
babysitter encourages them to play grown up pretend with mama bear
and dead cub bedtime stories. She gives back toys that mom had taken
away, and the opening kidnapping of the real babysitter being
replaced by the titular weirdo isn't quite clear until this gets more
warped. We thought this was going to be a scary movie, but the plot
degrades into bloody tampons, sex tapes, sleeping pills, and
terrorizing kids with dead pets. Rather than horror entertainment,
this is just one off putting element after the next. No thanks.
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