A lot of horror movies preach about the dangers of teenage drinking, drug use, and premarital sex. Most of them wait until the teenagers are already drunk, stoned, and deflowered before the horror starts. This one begins in the parking lot of the liquor store as the clueless teens pester passersby to buy them alcohol. If you’ve ever stood outside a liquor store and begged strangers to buy you booze as a kid, I’m sure there will be moments in Ma that will hit home for you.
Sue Ann (Octavia Spencer), the lonely, middle-aged woman who buys the teens their hooch, offers them a proposition. They can hang out in her basement where they will be supervised, and she’ll make sure they are okay to drive at the end of the night. It seems like a good set-up until the privileged brats learn Sue Ann has an ulterior motive.
Ma is a modernized take on the “From Hell” school of ‘90s thrillers. This time, it’s the adopted den mother who turns out to be a twisted psycho. Most of the tension comes from people who don’t pick up on social cues or overstay their welcome. Sometimes though, that shit is scarier than a slasher with a knife.
Director Tate Taylor has had an interesting career. He’s made box office hits (The Help, which also starred Spencer), biopics (Get on Up), thrillers (The Girl on the Train), and action flicks (Ava). The films of his I have seen have all been slick and competently done, and while they aren’t classics or anything, I like the fact that he doesn’t seem to be beholden to one particular genre.
It doesn’t hurt that the film is stacked from top to bottom with talent. Spencer does a fine job as the off-her-rocker Samaritan with sinister intentions. We also have a solid turn by Juliette Lewis who plays the heroine’s mother. There’s also Luke Evans and Missi Pyle as Lewis’ former high school friends who hit the right notes in the short time they’re on screen. Allison Janney is a hoot too as Spencer’s bitchy boss.
The movie isn’t as successful once it veers into full-on horror in the last reel. Once Sue Ann starts to finally get her revenge, it feels sort of rushed. Like they needed a big horror climax or else people wouldn’t know it was a Blumhouse production. Despite that, it’s a slick and solidly made horror thriller that gives Spencer an opportunity to chew the scenery.
AKA: Mama.
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