Movie Night With Mommy

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Movie Night With Mommy
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Watch Why Riley Keough Wasn't Ready for 'The Lodge'
Werner von Trapp (archive footage) (uncredited)
Baronin von Trapp (archive footage) (uncredited)
Kevin Smith chats with Riley Keough at Sundance 2019 , and she shares why she was fully unprepared for her first meeting with The Lodge directors Severin Fiala and Veronika Franz .
The actors were not given the script, and the movie was filmed chronologically.
Psalm 23 Written by Franz Schubert Arraged by Gerhard Schönfeldinger
A Austrian psychological drama horror that might not suit everyone just because it is a little bit on the slow side for the first half in particular and is then merely suggestively unsettling than a full on scare. But the slow build-up kept my interest and it definitely paid off in the end. I've read here that some people thought it was too predictable, but I must disagree because there were elements to the story that I had to go here to the message-boards to properly understand, and by then it all made sense of course. It could be because I am currently sick so my brain isn't working properly lol but I really don't think so, and I can usually tell how a horror movie is gonna end half asleep anyway. So yeah, recommended for patient viewers who's looking for a horror that isn't all about cheap jump scares but more of a psychological one.
Need inspiration for a spooky night at home in October? Here are 31 of the most popular horror movies on IMDb to watch this Halloween season.
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What is the streaming release date of Goodnight Mommy (2014) in Australia?
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Hollywood Heartthrobs Through the Years
Twin boys move to a new house with their mother after she has face-changing cosmetic surgery, but under the bandages is someone the boys don't recognize. Twin boys move to a new house with their mother after she has face-changing cosmetic surgery, but under the bandages is someone the boys don't recognize. Twin boys move to a new house with their mother after she has face-changing cosmetic surgery, but under the bandages is someone the boys don't recognize.

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 than something that is somehow fabricated outside social and historical contexts. Goodnight Mommy tears the mythic fabric asunder without offering a context of its own that might aid in contesting the destructive dynamic it presents. What is clear is that the mother-child, specifically mother-son, duo is in shocking disarray, as part of an isolated fragment of a society that doesn't come to the rescue of the little family, like the cold and reluctantly helping priest and Red Cross workers who have no clue as to what is really happening between the mother and child. The screenplay is such that although they are provided a few clues that all is not right, they blithely leave the disturbed home without intervening. As part of the film's utter coldness, it exudes no humor, an oversight which, whether intended or not, differentiates itself from the most effective horror and psycho-thrillers such as[[ASIN:B00003CXCF Rosemary's Baby]], [[ASIN:B001BEK8EW Lord of the Flies: Essential Art House]], [[ASIN:B000GWE44U The Shining]] and many of Hitchcock's films. Humor, part of the rich repertoire of human emotions that provides respite, however brief, from the genuine horrors in the lives of characters subjected to the varied torments their creators have chosen, saves us not from the truth - for better or worse no representation can ever quite access it for all people in all times - but rather allows us to wander into a greater truth without submerging our humanity along with it.
Pazuzu Jones Reviewed in the United States on May 29, 2020
I will not give away this movie’s “twist” ending, but I will say it is a twist I have seen in so many thrillers over the past twenty years that I spotted it almost immediately. It was so obvious, in fact, that I wondered if it was some kind of red herring and the real twist was still to come. It wasn’t, though. They ride with it until the end, making the movie boring when it should be tense. But I have to admit that parts of this film have stuck in my mind just the same. It deserves three stars because even with the flaccid payoff, there is enough that remains unsettling, if being unsettled is what you are looking for. Twin brothers Elias and Lukas (played by Elias and Lukas Schwarz) live in a huge, isolated house in the middle of the forest with their mother (Susanne Wuest). When will people learn that owning a huge, isolated house in the middle of the forest is going to land you in a horror film? The boys’ mother comes home from a plastic surgery operation with her face covered in bandages. She exhibits strange behavior: Talking only to Elias and ignoring Lukas completely. She insists all the blinds in the house stay closed and that the boys sit in silence during the day. The two of them become convinced that this bandage-covered woman cannot be their real mother, that she must be an imposter of some kind. She may be a long-lost aunt they see in an old photograph, or she may not be human at all. Indeed, Elias has a dream in which he sneaks into his mother’s room while she is asleep, cuts her open and finds she is filled with cockroaches. The movie grows disturbing as it delves unexpectedly into torture porn. The two boys tie their mother to her bed and try to draw a confession out of her. Some of their unsettling tactics involve super glue and dental floss. Two nine-year-old children being so relentlessly cruel to their mother is a bit difficult to watch, upending our preconceptions about the sacred bond between a mother and child. After a few days of this agony, the “twist” is revealed. I know this movie got positive reviews from critics. It certainly had potential to be a memorable and scary film. There are some truly shocking moments and the actors are great. What a shame they had to go with that moldy old chestnut again. Twisting the twist a little bit more, possibly bringing in some supernatural elements, would have helped out a lot.
John's Horror Corner Reviewed in the United States on February 2, 2016
Ok. Just to start out, I'd like to warn you that I confidently had this movie figured out after 12 minutes. No joke. I'm normally good at things like that--but in this case I think I was given a little too much a little too soon to piece things together a bit too prematurely. Now, hey, I still enjoyed this film. But something like this could spoil some people's movie experience. On with the review… When first meet the identical twins, Lukas and Elias (Lukas and Elias Schwarz), they are refreshingly playing outside as young boys once did before the advent of videogame consoles, Netflix and the internet. They are clearly the best of friends and do everything together from hide and seek to burping contests on their large family farm estate in the countryside. After returning home to recover from a terrible accident that initially goes completely unexplained, their unrecognizably bandaged mother (Susanne Wuest) is not greeted as warmly as she'd like--hardly a kind word is exchanged after the boys coldly deny her so much as a welcome home hug. Clearly any children would be shocked to see their mother's face obscured by gauze. But this is more than that. In that moment, Mommy earns audience sympathy while being dehumanized in the boys' eyes. It is evident that the boys doubt that this is, in fact, their mother standing before them. Mommy makes her best effort to return to normal, but something is off. One twin (perhaps more disrespectfully than fearfully?) doesn't speak directly to Mommy but rather whispers in his brother's ear and, as a result, he is treated unfavorably. More things hint that something is off. Mommy insists that she will not see visitors, the boys refer to what dad lets them do but he is never seen or mentioned otherwise, and Mommy essentially never even acknowledges the other brother as if implementing some form of extreme silent treatment. The boys' somewhat surreal dreams convey the intensity of their distrust and other little hints (or red herrings?) abound, but I won't ruin any of it for you. As the story endures, the boys' distrust only amplifies and so accordingly does Mommy's impatience for their acceptance--which is never directly addressed. Their fantasies depict her as a something monstrous and inhuman--meanwhile they literally pray for the return of their "real" mother. Ultimately, the boys and Mommy turn to extreme measures and the film shifts from psychologically uneasy to brutal. The greatest fault of this film--other than its blatant predictability--was that when the time came for it to reveal the truth, it just sort of "tells us." As a whole the film still worked for me, and I'd even recommend it to anyone in search of something different from the horror genre; a change of pace. But realize that to some, this flaw may not be considered as forgivable as it was to me. Furthermore, I was delighted by the editing, cinematography and splendid acting. This was the first feature film for writer/director team Veronika Franz and Severin Fiala and I'm thrilled to see what they do next. There are some intense scenes, just a few with blood, mostly involving the threat or act of domestic violence. But we delve briefly into torture porn during the dental floss and super glue scenes. This film is slow but stimulating, delicate yet brutal, and simultaneously sympathetic and cold. Some may comfortably pick whom to trust, but I found my sympathies indivisible across the tortured family. I'd call that a victory.
Natja K. Reviewed in the United States on December 4, 2015
* CONTAINS SPOILERS * (But there isn't much at all here to spoil) What a shame! What a supreme letdown! I thought "Finally! This is it!! The suspense/horror masterpiece I've been waiting for!" Now why on earth would I think that? Well for the same reason I thought that about other films that seemed promising but turned out to be just alright or even downright terrible. This one falls more in the "just alright" category. The reasons are simple I thought this was going to be better. Once again for the umpteenth time -so called "honest/expert reviews". Now first let me say(and I know a good deal about this and because I have done a great deal of research on this), it's a different ball game my friends. It's a jungle out there. Amateur and professional reviewers are often being paid for a positive review. The evidence is overwhelming, all you have to do is research this. It's a fact. It is powerful weapon in the marketing arena and it is working. Millions plop down their money to purchase or rent movies based on rave reviews. Many people right on amazon admit they take a financial or special deal reward from whom might be on the other end to write a rave review on films that might not deserve the praise. I've mentioned this problem in other reviews. And it's not just a problem, it's getting out of control. So in a nutshell? We can no longer trust reviews to be honest ones. That's a fact. So the best thing to do is start with the negative reviews and work our way the opposite direction. In my case where this movie is concerned I didn't keep to this rule and went straight to VUDU and read all the expert reviews. Folks, they lie right through their teeth. I'm telling ya'. They made this sound like the new modern masterpiece everyone has been waiting for. "Suspense that grabs you by the jugular and never let's go!" "It will keep you in fear, clenching the person next to you till the last terrifying moments!". This is just plain not even close to true. It's a bald face lie! So is this is bad movie? No it's actually not that bad, but it isn't all that good either. But for one there isn't much horror. It isn't much of a horror movie at all. That's ok. But there
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