Guillermo Del Toro’s new thriller “Mama” combines the old and the new in a story about two young girls—abandoned by their father in the mountains—who are protected by the ghost of a mental patient that killed herself and her child in 1882. When the girls, Victoria and Lily, are found by searchers, they are sent to live with their biological uncle Lucas and his girlfriend Annabel.
Yet adjustments prove to be difficult, as the girls have lived in the wild for five years in a feral state. The girls are closely monitored by psychiatrists who soon find that Victoria and Lily invented an imaginary character to take care of them while in the mountains—Mama. But when the girls move in with their uncle, unexplainable things begin to occur, and Annabel comes to believe that Mama isn’t actually made up at all.
The film should receive praise for its originality. Though the idea of the scorned mother has been used frequently in horror films of the past, the idea of a ghost caring for children is a new and intriguing one. Additionally, the fact that the children have grown up in the wild adds an eerie aspect to the film, especially as they are seen covered in dirt and crawling around like canines. In essence, the film’s basic concept is a fresh take on the “mama-drama” of the horror genre.
Some of the characters, additionally, are also quite endearing. Though Annabel (Jessica Chastain, “Zero Dark Thirty”) is somewhat irritating at the beginning of the movie, she will grow on the viewer as she learns to love the girls and slowly accepts her role as their new caretaker. The character of Victoria is also likeable, as she is torn between loving Annabel and attempting not to anger the ghost of the woman who loved her first – Mama.
Yet, as appealing as these characters seem to be, they are also somewhat flat throughout the film and there appears to be little character progression.
Unfortunately, “Mama” also disappoints in terms of suspense. While the atmosphere is creepy enough, and there are plenty of “makes-you-jump” moments to go around, the viewer may find that he or she is never genuinely frightened. This may be because there is a great deal of back story about Mama, which leads the viewer to empathize with her to some degree. Also, though her physical appearance is extremely disturbing, she is seen all too often throughout the film, which detracts from the suspense and mystery that should usually surround the monster of this type of movie.
The film also features several chilling scenes with the children, who are seen singing with Mama, drawing unsettling pictures on the walls, or simply standing still for a great deal of time. However, as the film progresses, these scenes lose their impact simply due to overuse, and what was once eerie quickly becomes a bit mundane. Overall, “Mama” lacks that certain enigmatic quality that would make viewers leave the theatre scared out of their wits.
Thus, though the film should be recognized for its original storyline, there are too many factors missing to create a truly terrifying horror story. With characters that are likable but vague, a lack of true suspense and a general feeling of repetition, “Mama” fails to thrill as much as a thriller should. Unfortunately, the intrigue of the plot is not enough to save the film, and viewers will most likely leave the theater dissatisfied and disappointed.
