I Am Mother review: Taut sci-fi chiller with a robot that’s one bad mom

In the movies, we’ve seen some terrifying robots that are seriously bad mothers. So for once, let’s a meet a robot that’s actually a good mom.

Or so I Am Mother would like you to think.

The sci-fi thriller premiered at the 2019 Sundance Film Festival this week, introducing us to a new robot on the list of sinister cinematic droids. Named simply “Mother,” this maternal mechanoid is tasked with one simple job: raising the last human left alive after an apocalyptic cataclysm wipes out the human race.

Mother hangs out in a sealed bunker with only 630,000 frozen embryos for company, all stowed in the deep freeze to repopulate Earth in case of disaster. In the movie Alien, a clear inspiration, the computer is known as Mother too, but that was just metaphorical. Here, the mechanical mammy is an actual hands-on parent.

Don’t mess with Mother.

Ian Routledge

The film opens with Mother breaking open an egg and birthing the first of those stored humans, followed by a bravura opening sequence as we see Mother nurture the little ‘un from howling baby to giggling toddler to curious child, all in the space of the opening credits. It’s like Wall-E meets the first 10 minutes of Up meets Matilda, and it boldly sets the tone for just how smart this movie and how well thought out the world of the bunker is.

Shot in an ominous gray and scarlet palette, the bunker is a closed-off location bursting with drama. Writer Michael Lloyd Green and director Grant Sputore evoke the shut-in suspense of movies like Alien and Moon as they wring tension from the situation. Is Mother really the nurturing figure she says? What’s really outside? And how will Mother react if her Daughter turns against her?

Don’t treat Clara Rugaard like a baby.

Ian Routledge

Decked out in a striking red outfit that’s surely destined to show up at a few cosplay conventions, young actor Clara Rugaard is phenomenal as the child known simply as Daughter. Although Mother is possessed of a genuine — and unsettling — personality, Rugaard brilliantly anchors the movie with a human face and heart.

A clanking automaton that incongruously speaks with a gentle, motherly voice provided by Rose Byrne, Mother tries to teach and guide Daughter. It’s a touching relationship, albeit one that’s clearly heading for trouble. 

As daughter hits her teenage years, she’s soon ducking tests and testing her boundaries instead. Kids, eh? Except this mother-daughter dynamic has implications for the future of the planet. And the steel matriarch soon shows her steely side, sprinting into protective mode when her charge is threatened like a maternal Terminator.

Things go really wrong in the crib when there’s a knock on the door, and mysterious stranger Hilary Swank turns up. Swank has more than a touch of Alien heroine Ripley or Terminator 2-era Sarah Connor about her, and there’s even an action scene set in an ’80s-style foundry. Unfortunately the film doesn’t seem to quite know what to do with Hilary Swank, who ends up being a fairly static character as the precision-tooled first gives way to a more meandering second half.

Hilary Swank channels Sigourney Weaver and Linda Hamilton in I Am Mother.

Ian Routledge

Once Swank turns up, the stage is set for a clash in parenting styles. Where the Alien movies’ subtexts of birth and motherhood launched a thousand media studies essays, I Am Mother is also ripe for interpretation. You could, for example, interpret the wild-haired human Swank as a birth mother upsetting the order of a cold, disciplinarian stepmother’s adoptive home. Or you could just get a pizza and enjoy the taut, tense sci-fi thrills.

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I Am Mother is yet to get a release date. On paper it seems like the sort of low-budget sci-fi Netflix is pumping out these days, but it’s a clear cut above most such flicks. Taut, stylish and well-acted, I Am Mother is one bad mama.

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