Mum & Dad

En tout cas, maintenant, je sais où finissent les valises égarées chez British Airways ! Une famille anglaise excentrique installée en périphérie d’Heathrow s’est, d’une certaine façon, spécialisée dans l’art de tout s’approprier – et peu importe s’il s’agit de voler des bagages et des appareils électroniques ou carrément d’enlever des visiteurs et employés de l’aéroport. Il est vrai que Mum & Dad n’apporte rien de bien neuf par rapport à ce que l’on a déjà vu dans les films du genre, mais on y trouve au moins, dans le rôle principal, une héroïne sympathique à qui vous souhaiterez de tout cœur qu’elle réussisse sa fuite de la baraque infernale. (25/07/2020)

This year we’ve had a lot of exploitation films, but most of them were unfortunately of very poor quality, such as Carver and Scarce. This new British entry in this perverted subgenre is not as harsh in terms of violence and brutality, as the aforementioned Carver, for instance, but unlike Carver, it’s skilfully made and can therefore boast a certain objective quality. The sobriety of the brutality on screen is a relative matter, of course, there’s still a lot more whacking, cutting and piercing various body parts than in anything that can be seen on Czech television. The terror in Mum & Dad (BTW, great name for a film like this) is more of the psychological kind, which for me is always more effective than any excessive blood orgy. That’s the main reason why I think it’s the best pure exploitation of the year – it really managed to disgust me at times. The biggest surprise is found in the last ten minutes, when it’s clear the climax will be on Christmas Eve. So, Mum & Dad turned out to be the perfect choice for this afternoon (I watched it on 24/12/2008). By the way, I’ve never seen more original Christmas decorations than this family’s. (24/12/2008)