Reviews
‘The Moogai’ Sundance Review – The Monster is a Metaphor (Again)
Over the course of six decades (1910-1970), tens of thousands of Australian Aboriginal children were forcibly removed from their homes due to the assimilation policies that were in place at the time. These policies claimed that the lives of First Nations people would be improved if they became part of white society, and an effort to breed out color from the Aboriginal population was carried out. Unsurprisingly, the lives of the removed children were not improved, with studies showing that many of them developed adverse reactions to their removal like mental health issues, drug and alcohol abuse, among others. These children became known as The Stolen Generation, and their experiences left a black mark in Australia’s history.
Writer/director Jon Bell, adapting his award-winning 2021 short film of the same name, taps into this unsavory event with The Moogai, yet another monster-as-a-metaphor horror drama that mostly succeeds when it acts as a drama, but falls short when it shifts into genre territory.
The Moogai introduces us to Sarah (Shari Sebbens, reprising her role from the short film), an Aboriginal woman who was removed from her mother’s home and placed with a white family. When we meet her, she is about to give birth to her second child with her husband Fergus (Meyne Wyatt, also reprising his role from the short). A near-death scare during the birth causes Sarah’s repressed trauma to resurface in the form of the Moogai, a malevolent spirit who has designs on her new baby. Struggling to come to terms with her birth mother Ruth (Tessa Rose) and dealing with years of unresolved trauma, Sarah’s mental state begins to deteriorate as the Moogai moves closer and closer to her and her newborn child.
The Moogai is the rare film to be adapted from a short that has too many elements at play. Bell introduces subplot after subplot, quickly establishing a conflict before moving on to the next one. The script feels more like an outline for a feature than a fully-developed one, as most of these subplots aren’t given much attention beyond their single scenes. They all play a part in Sarah’s mental deterioration, but it’s disappointing that nothing about these scenes operate for any other reason. Bell has plenty of material to fill a feature-length film, but seems resistant to stay in one place for too long. Subplots involving Sarah’s co-worker Becky (Bella Heathcote, Relic) disappear as quickly as they’re introduced. A confrontation with a rude teacher (Alexandra Jensen, Talk to Me) similarly doesn’t amount to much, other than to reiterate that everyone around Sarah is starting to believe that she is losing her mind.
There’s a distinct emotional charge to the scenes that Sarah shares with her birth mother, and they resonate deeply. Sarah not only views her mother as less than, but doesn’t even consider her to be her real mother. Efforts on Ruth’s part to help Sarah fall on deaf ears, with Sarah dismissing Ruth’s unfamiliar Aboriginal practices as nothing more than superstitious dreck. These moments stand out the most, whereas the two scenes Sarah shares with her adoptive mother Annette (Tara Morice) frustrate because Bell resists the urge to dive into that relationship in any sort of meaningful way.
Much like last year’s other Australian Sundance outing Run Rabbit Run (review), The Moogai is bound to draw comparisons to The Babadook (fitting, as that film had its world premiere at Sundance 10 years ago and shares a few producers with The Moogai). Like that film, it also suffers from the use of uninspired horror tropes to get a rise out of the viewer. Nightmare fake-out scares are aplenty, Sarah hallucinates snakes that aren’t there (or are they?), little ghost girls with white eyes occasionally pop up to offer Sarah cryptic warnings about the Moogai (“He’s coming.” “He’s watching you.” “He’s coming for them.”), and the eponymous creature serves as a metaphor for Sarah’s trauma. It’s par for the course at this point, but it comes across as lazy when it should have been inspired.
Having the Moogai act a metaphor for Sarah’s generational trauma is nothing the genre hasn’t seen before, but The Moogai barely scratches the surface when it comes to the lasting effects of Sarah’s removal from her mother’s home. It’s a credit to Sebbens’ performance that it works as well as it does, but Bell’s screenplay, with its refusal to stay in one place for too long, lacks a cohesive narrative. That being said, Sebbens’ commands the screen in her scenes, even if the film surrounding her isn’t pulling the same amount of weight.
It’s not all for naught, though, as the climactic confrontation with the titular beast elicits the necessary thrills. The creature itself is brought to life by impressive practical effects and a creepy physical performance from actor Paul Chambers. There are times when the sequence can be a bit hokey, such as a moment when Sarah offers a cliché one-liner as she attacks the beast, but the intended effect is successfully achieved for the most part.
There is a very important story being told in The Moogai. It’s just a shame that it isn’t given the proper attention it deserves, with Bell opting for cheap scares and surface-level observations instead of something richer. The pieces are all there, but the execution is lacking, making for a film that’s content being aggressively fine when it could have been something much more resonant.
The Moogai premiered at the Sundance Film Festival. Release date TBA.
Reviews
‘This Tempting Madness’ Review: Stylish Psychological Thriller Nearly Collapses Under Its Twists
This Tempting Madness, the new thriller from director and co-writer Jennifer E. Montgomery, opens with a title card that ties it to a true story and insists that while names have been changed, the “strangest parts” are preserved. It’s an enticing opening, and for a while at least, it bears fruit.
Starring Simone Ashley as a young woman recovering from a horrible accident that may or may not involve an abusive spouse, the film establishes layers of intrigue early on, delicately folding them together with stylish visual and aural flourishes from Montgomery and the production team. It’s familiar to any seasoned viewer of psychological thrillers, and amnesia thrillers in particular, but it’s clicking…mostly.
Thanks to a solid lead performance, some compelling hooks in the script, and capable direction, This Tempting Madness manages to hold itself together as a solid little thriller, even if a third act that’s too twisty for its own good almost derails the whole thing.
Ashley is Mia, whose opening moments in the film show us her plunge from a high balcony, down through an atrium, and into a safety net that just barely saves her from death. In the hospital, with her jaw wired shut and her leg broken in several places, Mia finds her memories are horribly fragmented, and her lack of information about what happened to her isn’t helped by her protective brother Ajay (Suraj Sharma), who insists that she’ll know more when she’s well. Soon, portions of the truth come out. Mia’s husband, the volatile Jake (Austin Stowell), is in jail for attempting to murder her, but Mia doesn’t remember that, so what really happened? Is Jake a monster? Is Ajay manipulating her? Or is Mia herself forgetting the person she was before the fall?
While the film settles into certain familiar rhythms of its subgenre, Montgomery, who co-wrote the script with Andrew Davis, also works hard to keep you guessing, and largely succeeds. It’s easy to buy Mia’s suspicion over what’s really happened, in part because her life feels so shattered, and in part because it really does seem like Ajay could be a pushy patriarch-in-training, just as it seems like Jake could be an unstable killer, even if he simply acted in the heat of the moment.
Flashbacks start to shade in details throughout the film’s first half, and they too pull Mia and the viewer in disparate directions. It legitimately feels like the truth, whatever it might be, is both nuanced and very frightening.
The problem comes in the third act, as revelations start to mount and Mia’s life grows even more chaotic amid her recovery. Her fragmented memory induces visions alongside memories, making it harder to understand what’s real, and when Ajay finally makes good on his promise to reveal what he’s been hiding, it shoots the film off in yet another strange direction that, while promising, doesn’t really resolve into anything satisfying in the climax.
There’s a moment where the film seems like it’s going to swerve into something truly bonkers, and while that moment is thrilling, its ending is far too conventional to make good on what it sets up. Instead of an emotional resolution that brings all of these ideas together, we’re left with a more straightforward ending that brushes over the thornier, more intriguing details of the story.
But This Tempting Madness makes up for its narrative deficiencies with a focus on style and craft that reminds us what mid-budget thrillers can do in the hands of the right artists. Montgomery, with the help of Davis as her cinematographer, makes her feature directorial debut into a showcase of visual dynamism, whether she’s tracking Mia along a creepy hospital hallway or making her orange dress in a flashback sequence flow into gorgeous abstraction, until Mia might be flying just as easily as she’s falling. Editor Kiran Pallegadda also turns in solid work, working with Montgomery to cut together Mia’s present experiences with flashbacks and visions until it all blends into one effective, nerve-jangling maelstrom.
The cast also shows up with a clear understanding of the assignment. Led by Ashley, who proves her versatility in a film that demands not just swerving between mental states but spending part of the story unable to talk, This Tempting Madness marshalls a strong ensemble that imbues every character with some degree of emotional substance. The whole cast rises to the twisty melodrama of it all, but the real standout is the reliably compelling Zenobia Shroff as Mia’s mother, Lakshmi, who injects soulful, patient warmth into a very dark story.
There is, it should be clear by now, a lot to like about This Tempting Madness. In the end, the film is simply trying to carry too much, and starts to cave under the weight of its many twists, but the foundation is solid, and structural issues aside, it’s still mostly left standing.
This Tempting Madness arrives June 12 in theaters and VOD.
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