MOM (2024) Review: A Slow-Burn Horror Experience

Mom (2024)

Written by Philip Kalin-Hajdu, Albert I Melamed, Adam O’Brien

Directed by Adam O’Brien

Struggling with postnatal depression and feeling misunderstood by her husband, Meredith begins to experience terrifying visions foreshadowing an ultimate tragedy.

MOM opens as Meredith (Emily Hampshire) and Jared (François Arnaud) bring their newborn son home to their beautiful house and seemingly idyllic lifestyle. However, it soon becomes clear that all is not well. Alex was not a planned child, and Meredith is struggling to juggle being a mom to her new son while also dealing with the fact her husband appears to be a useless prick who expects her to also be the perfect housewife.

As Meredith’s ability to cope slowly erodes in the face of Jared’s blind selfishness, her grip on reality also slips until her fragile state leads, inexorably, towards a tragedy that tears their family apart. Alone in her home Meredith is plagued by visions of a young boy she believes to be an older version of Alex and a creepy apparition of a faceless woman.

MOM is very clearly an exploration of post-natal depression through the eyes of a new mom experiencing all the emotions and pressure that are thrown at someone suddenly given the ultimate responsibility of protecting a defenceless child. 

As such, MOM isn’t necessarily something we haven’t seen before with a stressed mom struggling to bond with her child, a crumbling marital relationship, and distant friends and family who just can’t fully understand the way Meredith is feeling. The visions Meredith experiences further cement the theme, with creepy crawlies, basinets full of blood, a young boy, and a creepy woman all questioning her mental state. Later in the movie, as cracks appear in the walls of her home, Meredith’s whole world appears to be crumbling around her.

Look at any horror exploring the similar themes and you will find familiar images.

However, don’t let that put you off because MOM is a pretty good addition to this crowded field. Emily Hampshire does a fantastic job as Meredith and portrays her slow descent subtly and sympathetically. Until things go really wrong, she seems like someone simply overwhelmed by their new life. But she ramps it up as the film progresses and, while this is a horror, her performance never feels over the top.

Most of the film is spent in the company of her husband and the vision of Alex (Christian Convery) both of who turn out decent supporting roles. Jared is portrayed as an arsehole, leaving Meredith to do everything, but, as the film progresses and we get into unreliable narrator territory, we begin to realise we may have been mildly duped. Convery does a good job of being creepy but also sweet, I just wish I could get beyond expecting to see him growing antlers…

As a horror, MOM isn’t particularly scary in the traditional sense, but it does have its creepy moments. It is the slowly building tension around what might happen as Meredith struggles on that is more effective and scarier than if there was some sort of physical monster out to get her.

There are a couple of scenes that build the tension up to the highest levels – I refer you to the bath scene – which will have you screaming at the movie even though you know what’s going to happen and there is nothing you can do to stop it. MOM perhaps should come with a trigger warning for anyone who has ever suffered with post-natal depression, but any parent is likely to have an emotional response to this film.

I have mentioned Meredith’s “slow” descent into madness, and, at times, the film felt like it was taking that too literally as it does drag on a couple of occasions; for a 95-minute film it felt like it was nearer 2 hours by the time I finished. That’s not necessarily a criticism, but if you are looking for a fast -paced psychological horror, then you are looking in the wrong place; MOM is a slow-burn descent into madness.

Hajdu, Melamed and O’Brien have conspired to deliver a well written and directed movie that is superior to some of the other recent low-budget horrors I have watched. I actually don’t think this would have looked out of place with a theatrical run (I have seen a lot worse in the cinema) and is definitely worth more than the 5.3 it is averaging (at time of writing) on IMDB. (I know I have said I am not into scoring in the past, but I would put this at a 6 to 6.5.)

MOM won’t win awards for originality or for saying anything new about post-natal depression, but it is a solidly produced low-budget horror. While you may have seen a lot of this before, MOM is not a film that punishes you for seeing it again, although it will punish you by delving into some dark places. It does have a few issues, but not enough to ruin it and, if the premise interests you, then it is definitely worth a look. 

Mom is on UK and Ireland digital platforms 17 February from Blue Finch Film Releasing