Mama Horror Movie Download Free
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Mama is a 2013 supernatural horror film directed and co-written by Andy Muschietti in his directorial debut and based on his 2008 Argentine short film Mamá. The film stars Jessica Chastain, Nikolaj Coster-Waldau, Megan Charpentier, Isabelle Nélisse, Daniel Kash, and Javier Botet as the title character.
The film began production in Pinewood Toronto Studios on 3 October 2011. Production ended on 9 December 2011. Parts of the film were also shot in Quebec City, Quebec. Although the film was produced in Canada, it is set in Clifton Forge, Virginia. The film was initially scheduled for release in October 2012, but was later rescheduled for January[6] to avoid competing with Paranormal Activity 4. Its success at that later date has, among with other dump months horror films, convinced studios to start opening horror movies year-round.[7]
I am a huge fan of horror films, however I have to say over the years I've found it hard to find many horror films that I genuinely like. I think one of the current masters of horror though is definitely Guillermo del Toro. So when I heard he was producing Mama I couldn't contain my excitement. The story plot was fantastic, something that I think a lot of modern horrors seem to sacrifice for jump scares. It keeps you engaged throughout the movie and as you keep watching, unraveling past mysteries as we go along.
Directed by Andrés Muschietti, the film does contain Guillermo del Toro's thumbprint, but it lacks the solidity of a del Toro film. The atmosphere of the film is dark and beautifully adds to the creepiness. The story is refreshing and a decent story is hardly seen in modern Western horror films. However, the CGI takes away from the authenticity of the film and ruins the decent story.
The director is first-timer Andy Muschietti, and the producer is Mexico-born horror maven Guillermo del Toro, who moves back and forth between popcorn genre pictures and surreal fantasies with imperiled child characters, among them Pan's Labyrinth.
Some elements of "Mama," including the dream sequences, are reminiscent of Japanese horror films. There's also some dark and wicked humor, as when Lilly plays and giggles with an offscreen Mama while Annabel goes about household chores, oblivious to the insanity occurring just around the corner. Coster-Waldau is solid in what turns out to be a supporting role, and Megan Charpentier and Isabelle Nelisse are terrific as the little girls.
It was a little jolting to go from more measured, mystery and horror-themed episodes where the show played with technology and created little creepy moments to more plot-specific ones. I do think something was lost in this uneasy transition because the mystery is always more intriguing than the eventual answers.
This past weekend I paid the ridiculous $12.50 to go see the 2013 horror movie Mama. Mama is co-written and directed by Andres Muschietti, co-written by Neil Cross, and produced by Guillermo del Toro. The movie has a dark, cold feeling to it. The colors all seemed very ominous and frigid. The special effects were mediocre and the soundtrack was not memorable.
Yes, mama's revered china. Bought in 1956, platinum-ringed with 12 complete place settings, a full cadre of serving pieces and wine, Champagne, tea, and water glasses. I knew I couldn't move it. I just didn't have room. But who of my kids should get it? Would the others feel left out?
A prologue tells us of a tragedy. A distraught father (Nikolaj Coster-Waldau) flees financial scandal by shooting people, grabbing his children and fleeing into the snowy mountains of Virginia. They crash, he drags the innocent little girls to a remote cabin, and just as he is about to finish his horror something happens to him.
In less than three minutes, Andy Muschietti and sister Barbara Muschietti established themselves as forces to be reckoned with in the horror genre courtesy of the 2008 short film Mama. In the short, two young girls get out of bed and go downstairs to find a truly nightmarish entity in their home, and when he saw it, Guillermo del Toro was so impressed and terrified that he knew he had to help turn the simple concept into a feature. So he used his power to do just that.
And Chastain, far from slumming in a horror film just as she is fighting for that Zero Dark Thirty Oscar, adds another gold star to her resume. Annabel is unhappy, ill-equipped for parenting, standoffish. Chastain makes her immature and yet somehow sympathetic.
Being sold primarily on the name of its godfather, Guillermo del Toro, this Canadian-Spanish co-production from Universal is refreshingly mindful of the less-is-more horror guidelines employed by 1940s master Val Lewton, not to mention Japanese ghost stories, but the PG-13 rating might prove too restrictive for the gory tastes of male core genre fans. Still, less bloodthirsty female teens could make up the difference at the box office, as the film provokes enough tension and gasps to keep susceptible viewers grabbing their armrests or the arms of those next to them.
Mama is a 2013 Canadian horror drama film, directed by Andres Muschietti from a screenplay by Muschetti, Barbara Muschetti and Neil Cross. The film is produced by J. Miles Dale and Barbara Muschietti, with Guillermo del Toro serving as executive producer. It is based on Muschietti's Spanish-language short film, Mamá (2008). Originally set for an October 2012 release, it was released in theaters on January 18, 2013.
And Chastain, far from slumming in a horror film just as she's fighting for that "Zero Dark Thirty" Oscar, adds another gold star to her resume. Annabel is unhappy, ill-equipped for parenting, stand-offish. Chastain makes her sexy, immature and yet somehow sympathetic.
A playful, elegantly made little horror film, "Mama" teasingly sustains a game of hide-and-seek as it tantalizes the audience with fleeting apparitions of the title character while maintaining interest in two deeply disturbed little orphan girls.
Ever since the enormous success of The Ring in 2002, there has been a sudden resurgence in the PG-13 horror film. From The Others to Insidious, most of these films are mysteries at heart, with trumped-up visuals and sound design that make them look and feel like adult horror films. However, it is the mystery and the protagonists unraveling of it that gives each of these films their narrative thrust.
The film seems to rely on the notion that it is a horror film to justify these questions instead of finding a reason for characters to act this way. Whether it be the blizzard in The Shining or Aliens Nostromo, there is always a way to answer this essential question posed by most haunted house films.
Despite these problems, it is refreshing to see a horror film where the human interactions take precedent over the monster that the film is advertised on. There is a sensitivity to Mama that is rare in horror films and it provides an interesting commentary on parenting and motherhood that, while not particularly deep, gives Mama a much needed soul.
Mama marks the feature film debut of director Andrés Muschietti. Inspired by his short film of the same title , Mama revels in archaic horror tropes; favoring the terrors of primordial nature, feral humanity, madness, ghosts moaning in the night, and the return of the repressed. The film is drenched in fiercely aggressive shadows, tightly framed locations, and more than a handful of scenes involving scuttling figures climbing across floors and walls. But while Mama has a concrete sense of its stylistic elements and ancestry it never escapes some of its more claustrophobic characterizations, repetitive scare tactics, and occasionally contrite plotting.
The PG-13 Spanish-Canadian horror film Mama is a strong feature debut for director Andrés Muschietti: the pacing, tone and performances are all handled exceptionally well, and the film certainly delivers the uneasy anticipation and scares that the genre promises.
I never thought I would be one of those mamas who screeched, "Turn down that noise!" I never thought I'd find myself closing the kitchen door and muttering, "They call that music?!?" And I never thought I'd experience a band that left me longing for the wholesomeness of Madonna. But I'm living in a whole new world now, a world that has finally shattered all of my young punk rock resolutions "not to be the kind of mother who ..." I am living in Spice World. And I have become just that kind of mama.
The central message of the movie ("You can be anything you want to be as long as you wear a ton of makeup and dress like a Victoria's Secret model") is no worse than Barbie, and, as far as I'm concerned, better than either "Beauty and the Beast" or that damned mermaid. Because the message is not about boys. It's not about Ken and "happily ever after." Admittedly, it's not about power, either. And the militant feminist in me is horrified that I am even considering a positive spin on the Spice Brats. But it's silly, and it's fun. It is five little girls who couldn't care less what the boys think, and who will never, ever buy the line: "She was asking for it." As one friend, a rockin' mama who played in pre-riot grrrl punk bands in the '80s, told me: "We would've died to have girl groupies back then. But it was all guys. The girls were dolling themselves up for Duran Duran."
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