The film is a supernatural horror movie co-written and directed by Andy Muschietti as his directorial debut from his own 2008 Argentine short movie Mamá. The movie followed the two young girls being abandoned in the forest cottage, fostered by the unknown entity which they fondly named as “Mama” that finally followed them to the new suburban house led by the two adult right after their uncle retrieved them.
- Jessica Chastain appeared as Annabel
- Dominic Cuzzocrea appeared as Ron
- David Fox appeared as Burnsie
- Diane Gordon appeared as Louise
- Morgan McGarry appeared as Young Victoria
- Jane Moffat appeared as Jean Podolski
- Sierra and Maya Dawe appeared as Young Lily
- Daniel Kash appeared as the Dr. Gerald Dreyfuss
- Nikolaj Coster-Waldau appeared as Jeffrey Desange/Lucas Desange
- Hannah Cheesman appeared as Beautiful Mama and Edith Brennan
- Julia Chantrey appeared as Nina
- Megan Charpentier appeared as Victoria Desange
- Elva Mai Hoover appeared as Secretary
- Laura Guiteras appeared as Mama (voice)
- Melina Matthews appeared as Mama (voice)
- Isabelle Nélisse appeared as Lily Desange
- Javier Botet appeared as Mama
Distraught after dropping his fortune in year 2008 financial crisis, the stockbroker Jeffrey Desange kills his colleagues and the estranged wife just before taking his younger daughters, Lily 1-year-old and Victoria 3-year-old to be away from home. Steering dangerously faster on the snowy lane, and Jeffrey lost control; the auto slide down a mountain and then crashed in the woods, smashing Victoria’s glasses. Ongoing collision, he took the kids in the abandoned cabin. He is planning to murder his daughters and then himself, he prepared to shoot Victoria, however, is attacked and murdered by the shadowy figure.
After five years, a rescue party, being sponsored by identical twin brother of Jeffrey, Lucas, finds Lily and Victoria inside a cabin, alive, however in the feral state right after years of being isolated. The girls are being placed in the welfare clinic under Dr. Gerald Dreyfuss supervision. They make references to “Mama,” the oddly maternal protector figure. These girls are primarily hostile to Lucas, however, Victoria recognized him after he handed her the pair of glasses that she may properly see. Dreyfuss agreed to support Lucas with Annabel, his girlfriend and custody claim against a girls’ maternal great-auntie, Jean Podolski, for as long as Gerald is allowed to look after the progress of the girl. Victoria acclimates rapidly to domestic life, whereas Lily retained much of her natural behavior.
Lucas is being attacked by Mama then place in a comatose, leaving Annabel to look after for the gals alone. Although initially reluctant, she made progress with Victoria, however, Lily stays hostile. Alarmed with the most horrendous of the odd woman and Victoria’s warns about the jealousy of Mama, Annabel asked Dreyfuss to investigate even further. Dreyfuss’s researches brought to glow the tale of Edith Brennan, the mentally-ill asylum patient that passed away in the year 1800s; he recovered the box from the government warehouse that contains the remains of the baby.
Lots of clichés were placed to good effect, that in some ways you had come to expect some things to take place in some ways, and they did. Whereas it can be blunted with regards to anticipation and then constructed, it did not shy away from giving that sucker punch if needed, and kept good act in framing and also editing for the maximum impact if for a moment named for the blatant dip into aimed and tested elements. A thing that you will note is how guaranteed Muschietti’s direction is, and as if completing it all for during the first time, with their aim of desiring to awaken its scares too well. The liberal utilization of CG also aided, but never completed in slip-shoddy style, which added the layer of optimistic production values to a movie.
There are creepy children, the ghoul which gate-crashed the reunion of sorts, the typical spooky house no gratitude to noise during odd timings, and a rote blinking of light. All ingredients that have been seen utilized up to the passing in different horror movie productions, but coming altogether too well in Mama, having fun with the power of these elements, whereas fiercely ignoring a negativity linked with lazier moviemakers who just slapped these elements together, anticipating them to work. It is not the special effects extravaganza when it is not required, and then Mama showed how the characters and the story were permitted to lead, instead of having oddly illogical moments, even in the horror movie, fall coincidentally in place.