‘Mam loves you’ seems to confirm what ‘Searching’ already suggests: That Aneesh Chaganty is a filmmaker who must be closely marked. It is true that at the moment he has only made two (notable) films, but it is no less true that others have been exalted even for less. For now, it has overcome the revlida with note, achieving with this ‘Mom loves you’ another remarkable suspense thriller supported in equal parts by the script twists and the characters.
It is what attracts the most attention, and it is ultimately what best suits this kind of cross between ‘Cuerdas’ and ‘The Act’: Having two main characters of flesh and blood that do not interact like plastic dolls of a generic alibi. If ‘Mommy loves you’ seems like a genre film it is because it clearly is, although in the absence of its generic conviction it could also work. It wouldn’t be the same, of course, but by proxy, it could work.
Because the foundations of ‘Mam loves you’ are as solid as her bet is so determined, inciting that as in ‘What became of Baby Jane?’ uncertainty arises from the confrontation of his twisted dramatic idiosyncrasy. Something simple when we have someone as ambiguous as Sarah Paulson on stage, and even easier when we also have someone capable of holding her gaze like the young Kiera Allen does.
Two compelling arguments for an intense and dynamic thriller that embraces with joy and great determination its devoted status as a playful generic pastime, not at all brainless or lightly elaborated. A work with depth and a malicious sense of intrigue reminiscent of ‘El habitante uncertain’; particularly, for its ability to misrepresent the immediate expectations of the viewer; especially because of his restless capacity for suggestion.
Beneath the more conventional but no less elegant appearance of ‘Mom loves you’, if not rather the opposite, hides a thriller that is just as effective and empathetic as ‘Searching’. A work to get hooked on from beginning to end, packed into a modic and energetic 90 minutes of footage that with humility and intelligence, overturns the customs of a genre very given to immobility that in the hands of people like Aneesh Chaganty flows on wheels.
By Juan Pairet Iglesias