Mom and Dad (2017)
★ / ★★★★
Brian Taylor’s would-be black comedy “Mom and Dad” inspires the viewer to walk away in the middle of it and never return. It is unfunny, not even mildly amusing, lacking the creativity and willingness to move the plot toward interesting directions, and it fails to function as a metaphor or an allegory of the complex relationship between parent and child, of one generation to another. All it provides is a mishmash of violent scenes that do not build up to anything substantial. It is one of the laziest films I’ve come across in a while.
It appears to be just another day in the suburbs as adults go to work and children go to school. As the day goes on, however, more and more parents are showing up to pick up their kids. While it is pragmatic to attribute the surge of panic to the violent goings-on shown by the news, it is revealed eventually that these parents intend to murder their own offsprings. The trigger appears to be a static noise emitted from television, cell phones, and various electronics. But there is no exact cause or reason behind the occurrence.
While the premise is curious, the screenplay never bothers to go beyond the expected elements of a horror template. Dark comedies require not only intelligence but an ingenuity designed to critique a subject behind images shown on screen; it must be willing to provide details so that the viewer comes to understand both what is at stake and why the story must be told in a particular way. Here, however, one gets the impression that the writer-director’s approach is to take a premise of a horror film, remove the juicy details of world-building and insightful character development, and pass it off as dark comedy. It is a massive miscalculation because the sub-genre almost never works as a skeletal piece.
Action sequences command no tension. Nicolas Cage and Selma Blair play the homicidal parents, but it appears they are hired simply to deliver crazy faces and intense yelling. When their characters chase the children (Anne Winters, Zackary Arthur) in and around the house, the camera is almost always placed toward the audience and so it is a challenge to appreciate, for example, the decreasing distance between predator and prey. Even the most basic horror pictures are aware that one ought to place the camera from a higher angle. A bit of distance from the central action allows us hold our breath in anticipation.
In addition, these chases are interrupted by pesky flashbacks that show either parent as a teenager or a parent sharing an intimate family moment with Carly or Josh. When not syrupy, they are laughably bad; in either case, the flashback interrupts the flow of an action scene. It is a technique so often used as a crutch to plug in the holes of a sinking screenplay. This observation is most applicable in this instance.
There is not one genuine human moment or interaction to be had in this most agonizingly dull film. It is exponentially more entertaining to sit through ninety minutes of Wile E. Coyote attempting to outsmart the Road Runner because the classic cartoon has more funny and surprising bits in thirty seconds than this movie has in its entire duration. If I were dared to choose between sitting through “Mom and Dad” again or breaking one of my fingers using a hammer, I would give the latter serious consideration.