By midlandsmovies, Mar 13 2018 09:29PM
Mom and Dad (2018) Dir.Brian Taylor
About two-thirds of the way in to Mom and Dad I thought to myself, “Hey, this is on a level of ridiculousness I haven’t seen in a long time...probably since Crank”. Imagine my surprise that Mom and Dad writer/director Brian Taylor is one half of the directing duo who brought us not only Crank 1 and 2 but Ghost Rider: Spirit of Vengeance.
Bringing back Nic Cage from the latter, this film twists the traditional zombie narrative by showing the traditional family as a unit of killers and victims. In this case, static on the radio and television is turning parents into killers of their own kids. The director's visceral visuals pop from the screen from the outset with a strange 70s-style grindhouse intro sequence and the weirdly kinetic stylistic choices continue throughout.
The film begins as a soap opera with the usual family dynamics about school and disapproving parents upset about boyfriend choices and homework. However what begins as a set of mundane routines soon moves into unsettling sequences as the static “infects” parents who attempt to maim and murder their young ones.
Cage mixes his “family man” persona with his legendary “full-on Cage” mode and the fact an audience can tell he is in on the joke makes his OTT performance twisted yet funny. An impressive Selma Blair does more with her mother character who moves subtly from caring guardian to an evil-doer who even attempts to harm a newborn in a hospital.
I’ve mentioned many times I’m not the biggest zombie film fan which is its biggest hurdle it has to overcome. However, there’s slightly more going on here as the parents talk to each other thus giving us their viewpoint – although Cage mostly just shouts uncontrollably. Morbid humour can be found as the parents bond over how best to kill their children and an impressively constructed scene sees Cage and Blair attempt to gas their children (Anne Winters as Carly Ryan & Zackary Arthur as Josh Ryan) out of a locked basement. But their wily offspring have an explosive surprise in a sequence that is thrilling and comical.
The music is clearly an intended choice to connect with a young (and knowing) audience as we get Bill $aber’s I Know that You Pussies Don’t Want It alongside punk band Reagan Youth and a twisted use of Roxette’s It Must Have Been Love.
Mom and Dad gleefully says “this is me, I’m here, and this is what I want to do” and does so with reckless abandon although one’s enjoyment is related to what extent you go along with its ideas and ignore its many structural flaws and lack of depth. From Nic Cage barking like a dog and hollering like a coyote to a fun cameo from Lance Henrikson, the film is ultimately nonsense. And it fails the most when it attempts to go beyond its b-movie roots with a somewhat superficial commentary on parenting, children and the stress of family life.
In the end, not without its chilling charms, whatever message Mom and Dad is trying to say, it gets overshadowed and lost against its style and silly theatrics. Beyond its Friday-night frills, it is a muddled mess that may prove too berserk for most audiences.
Midlands Movies Mike