Mommy Watch

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Mommy Watch
Studio MVD Entertainment Group Rating R (Restricted) Content advisory Smoking , alcohol use , foul language , sexual content , violence Purchase rights Stream instantly Details Format Prime Video (streaming online video) Devices Available to watch on supported devices
Einsatz Reviewed in the United States on August 27, 2020
Strictly speaking, Mommy is and isn’t a very good murderer. Just because she can doesn’t mean she’s actually good at it. Frequency doesn’t mean she’s proficient. The only reason she keeps getting away with murder is because the police aren’t very good at their job. Inexplicably, they can’t seem to connect the dots. I don’t think they’re trying hard enough. How many suspicious deaths does it take before they realize they’re all linked with one and only one common denominator. The only good thing about this low-low budget thriller is Patty McCormack as Mommy.
Jeff Reviewed in the United States on July 12, 2020
Amazon Customer Reviewed in the United States on May 11, 2020
Decent movie, poor little girl though.
Red Sonya Reviewed in the United States on July 12, 2020
Nothing spectacular like the Stepfather movies. Laughable bad-decision making among all the characters, terrible acting, super cheesy, and very predictable from the beginning. This movie tried to be serious, but it failed miserably. Mildly entertaining as a spectacle to be gawked at.
J. West Reviewed in the United States on September 13, 2020
I thought this was completely boring. I don't bother the second film of Mommy 2 at all.
B&S About Movies Reviewed in the United States on March 29, 2021
Patty McCormack was the original bad kid after The Bad Seed. What if she survived the end of that movie and had kids of her own? Well, maybe. McCormack is Mrs. Sterling, the single mother of 12-year-old Jessica Ann. She sets the tone of the film by visiting her daughter’s school to ask why she hasn’t won student of the year again. When she doesn’t get the answer she likes, she shoves a teacher off a stepladder like she stole her penmanship medal. This movie boasts a great cast as it tells its story, with Jason Miller (The Exorcist) as the cop on the case of the murder, Brinke Stevens as Sterling’s sister, Majel Barrett as the teacher who dies early and Mickey Spillane — yes, the writer! — as an attorney. Both Stevens and Spillane signed on because they knew writer and director Max Allan Collins, who is a mystery writer of some renown as well as the comic book writer of Dick Tracy, Ms. Tree, Wild Dog, Batman and more. He’s also written several C.S.I., NYPD Blue and Criminal Minds books*. Probably his most famous book would be Road to Perdition, which was made into a movie starring Tom Hanks. After an entire movie consisting of McCormack killing everyone that may implicate her in the murder and stealing that Student of the Year trophy for her daughter. Despite nearly killing her daughter, she does defend her from a vicious dog who mauls her, with the scene only ending when the police take her away. Mommy isn’t a perfect film, but it’s a lot of fun. As always, McCormack is at her best when she’s obsessing about perfect things in an imperfect universe. *He also wrote novelizations of In the Line of Fire, Maverick, I Love Trouble, Waterworld, Air Force One, U.S. Marshalls, Saving Private Ryan, The Mummy, U-571, The Mummy Returns, The Scorpion King, Windtalkers, I-Spy, The Pink Panther, American Gangster, The Mummy: Tomb of the Dragon Emperor, The X-Files: I Want to Believe and G.I. Joe: The Rise of Cobra.

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Supporting actors Hans Escher , Elfriede Schatz Producers Ulrich Seidl Studio tribecashortlist Rating R (Restricted) Purchase rights Stream instantly Details Format Prime Video (streaming online video) Devices Available to watch on supported devices
Christina Reynolds Reviewed in the United States on April 28, 2021
𝑺𝒉𝒆'𝒔 𝒔𝒐 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒕. Goodnight Mommy is a 2014 Austrian psychological horror film. The film is written and directed by Veronika Franz and Severin Fiala. Elias and Lukas are two twin boys who do everything together - from collecting beetles to feeding stray cats. After welcoming their mother home following reconstructive surgery her bandaged face and distant demeanor make them grow increasingly suspicious of her identity. If you seen one you've seen them all - or, at least that's what dedicated fans of horror are likely to say about their experience with ‘Goodnight Mommy’. The good news for people that can't relate is this: that the scariest moments are in the trailer for this film. I myself always appreciate a lack of dependency on jump-scares, but this doesn't keep France and Fiala from utilizing elements that are haphazardly tropey in the context that is ‘GM’. Martin Gshlacht’s Cinematography lends to the atmospheric lack of ease by capturing moments of familiarity and warping haimish symbols that otherwise should provide a sense of comfort. It's difficult to infer why certain elements are included as they appear to only exaggerate the eccentricity of the core characters (spoiler alert: people with an aversion to animal abuse or gore fixated around the mouth need not subject themselves to this), but it doesn't compromise the potential for elasticity of the overarching circumstances at hand. Early on ‘Goodnight Mommy’ riddles its potential for ingenuity with a slew of bullet size potholes. I'm certainly not one to complain when a mystery is afoot as I’m not one to ruminate over possibilities, but there is room to validate points of contention held together by some suspension from reality. The nature of the mom’s identity is constantly called into question, but this often leads to a conversation that chases its own tail; demands to prove her Identity are bluntly stunted, put through the wringer, and then slapped back on to the drawing board. There's much to be said about the myriad of ways in which mom is “baited” into this conversation as it relates to a child's view of the world, but the tediousness of it all might lull some viewers to sleep. It is worth acknowledging the use of dramatic irony since many interactions and behaviors appear to be done in secret that only audience members are made privy to, but at the end of the day even this irony seems more like a consolation prize then it does a necessary plot device. Interestingly enough, the subject matter of ‘Goodnight Mommy’ had a significant influence on how the casting pool for it was subsequently skimmed through. Out of 120 pairs of twins that auditioned Elias and Lukas Schwarz Were chosen because of their appearances (at it presumes innocence) and their reactions to commands encouraging some need for vague improvisation on the spot. The performances seen here aren't exactly “exceptional”, but they're straightforward and self-guided tenacity (as the children also didn’t have a script made available to them and instead learned about the story as it was filmed in chronological order) effectively hurdles over muddled nuances and exhausted clichés while smoothly carrying the casual nature of terror that makes ‘Goodnight Mommy’ psychologically distressing. All Things Considered - the suspense maintained throughout is not compounded with an attempt to surprise; there certainly is a twist laying in wake for audience members, but within the first 10 to 15 minutes the cat is let out the bag. The screenwriter's conveniently laid kafkatrap is foiled by an inability to fully commit to moments that could tease truths and understandably forces certain points of engagement to violently hit a brick wall. Alternatively, for audience members interested in understanding 𝒘𝒉𝒚 the twist is happening as opposed to simply seeing how it plays out: this is where the film and it's potential for enjoyment really begins. Hence my cue. Grief, trauma, and the way they can rear their ugly heads is nothing new to the horror genre: it’s beaten to death in films like 𝑯𝒊𝒅𝒆 𝒂𝒏𝒅 𝑺𝒆𝒆𝒌 (2005) and subtly reaffirmed in ones like 𝑴𝒊𝒅𝒔𝒐𝒎𝒎𝒂𝒓 (2019). ‘Goodnight Mommy’ simmers in its deliberately heartbreaking premise with delicacy and successfully personifies a brutally tangible desperation for normalcy following a period of significant loss and calamity. Its attempts at misdirection fall short under evidently conspicuous dialogue and interactions, but it's the everlasting certainty of it all that makes ‘GM’ a slow burn in more ways than one. When conceptualized as a story about maneuvering around change it's fairly easy to understand how France and Fiala fail to boast claims to a structurally secured conundrum or a relatively stationary target. It is apparent by far that ’Goodnight Mommy’’s aim has much room for improvement, but its nefarious endorsement of sayings that suggest home can be a person and that there's no place quite like it makes the shots that it does take uncomfortably close and consistently commendable.
Mary B Cantoral Reviewed in the United States on December 22, 2015
The film holds value as an aesthetic wonder. It is visually stunning, morally disturbing and strangely provocative. It plays wonderfully with the spectator's perceptions, threatening their assumptions and shaking their schematic foundations. The first half of the film comprises the view of the child; the second increasingly projects the perspective of the mother as their roles begin to reverse and the child-victim becomes the child-aggressor. However, the story has some surprising gaps that are never adequately addressed by the filmmakers. While it becomes clear later in the film that the first half is the child's perspective, it is difficult to understand why we the audience are seeing the mother alone and behaving so strangely. Yes, we come to realize later on that it is because that is what her child is imagining and not reality; however, there are more than one instance of the mother acting aggressive and odd both toward her child and alone, such that the switch into victim mode seems unbelievable. It is just as untenable that a plot about a severely disturbed child would not include a convalescent mother with such obvious material means as shown in the film with a helper of some kind, if not to show how the immaculate, posh home is being cared for so nicely on the surface, then at least an assistant to help with the evidently traumatized child who is revealed to us as a psychopath. Films which do the same in terms of psycho-horror involving severe threats to the middle-class or upper class family such as [[ASIN:6305228876 Funny Games]] or others which this film appears to emulate in its striving to depict the nuclear-family unit or parent-child dyad under siege, and the cruel social disintegration of communities accomplish their goals by setting up a logical chain of cause and effect within the bizarre yet poignantly truthful social worlds they have chosen. Goodnight Mommy doesn't do that quite as well. And, at some points the violence and torture becomes nearly gratuitous, or if not gratuitous then working to reinforce the trope of the evil child toward whom the audience becomes fearful. Ultimately, Goodnight Mommy plays not only upon the audience's expectations but undermines the modern mythic construct of the innocent child, mythic in terms of its value as that which a society believes about itself more th
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