Mama

Viel besser als Torrs vorige Produktion Don't Be Afraid of the Dark. Ein funktionierender Gänsehaut-Geysir, auch wenn er aus allen möglichen Sachen zusammengeklebt wurde (das Gespenst ist eine Bewegungs- und Designkopie der Geister aus The Grudge - Der Fluch). Die abgeleierte Angelegenheit mit einem weiteren Umzug in das Haus, wo es spukt, kann man dem Film wegen der perfekt funktionierenden Spannung und den Schreckmomenten verzeihen. Und auch wegen Jesicca, die dem Film den Anschein einer höheren Produktionsliga verleiht. Das Finale auf der Klippe sollte man ignorieren. (29.03.2013)

In nine months I will look back at most of this film as a sample of the best the horror genre has produced this year. A slowly built atmosphere, unsettling moments, good actors. It’s almost at the level of last year’s Sinister, so I’m very satisfied. The ending is such a shame, though. Maybe the emotional aspect worked on paper (a poignant ending like this could have been something), but on screen it simply doesn’t. The culprit is all that unnecessary CGI, where not only the monster is digital (it looks really weird, and in this case I don’t mean it as a compliment), but everything around it is, too (the cliff, and If it isn’t, it does look like it is). As I say, it’s a pity, but not even those last ten minutes are bad enough to erase the previous hour and something of proper horror. (23.03.2013)

So, it's pretty decently scary. Especially well done is the work with the house and its dark corners. This is related to the tension often arising only from hints (an open closet in the child's room or the strange behavior of the younger sister), so you feel danger at every step. And yet, although the story avoids many clichés, the idea with the caring mother is definitely interesting. The problem arises when this pig starts appearing in every other scene from about halfway through the film, as her digital form is not one of the lucky moves (her walking wig is plainly funny). Moreover, the melodramatic ending does not fit into the context of a serious horror film. And that's really a shame because some scenes have real power. Of course, I'm specifically thinking of the one with the camera in the forest cabin. (21.04.2013)

Wenn ich mir hier die Rezensionen durchlese, stelle ich fest, dass ich einer der wenigen bin, denen das Ende auf der Klippe gefallen hat. Aus meiner Sicht war es aber eben das Finale, das Mama zu einem mehr als überdurchschnittlichen Horrorfilm gemacht hat, der er bis dahin gewesen war. Jessica Chastain war hervorragend, die Mädchen jagen den Zuschauer*innen am Anfang viel mehr Angst ein als ihre digitale tote Gouvernante. Nikolaj Coster-Waldau war aber völlig überflüssig. Die beste Szene? Wahrscheinlich die, in der Lilly im Zimmer spielt, während die anderen durch den Flur laufen. (03.10.2015)

We have no choice but to smile in recognition, because the Spaniards have once again pulled it off and made things even more difficult for their Hollywood competition, whose production of quality horror films has stagnated in recent years. Mama convinced again me of how beautiful and unique horror can be when a capable filmmaker takes it on. Andres Muschietti does a really great job, managing to create a very uncomfortable atmosphere from the first seconds, and some scenes gave me chills like I haven't had with any other film in a long time. I'm not a big fan of ghost stories, but here I was as tense as a guitar string the whole time and I really wanted all the heroes to make it out alive and sane. Much credit can also be given to the actors, who are very likeable and believable. It's a pity about the ending, which goes way over the top, but I guess there was nothing much that could be done with the story there. As a whole, I’m giving the film 4*, but if I were to ignore the story and rate only the execution and the resulting audience effect, it would be a clear 5*. :) (13.03.2013)