After more than two decades working, Octavia Spencer has finally gotten herself a star vehicle - and it's safe to say that no one expected this territory. Getting downright nasty with Blumhouse in Tate Taylor's Ma, Spencer's role as the title character subverts any and every expectation we hold of her as an actress: a decision likely intent on both showcasing her own range as an actress and widening the limitations of the roles black women in Hollywood receive.
When a group of underage teenagers approach a seemingly sweet and friendly lady in the hope that she will purchase alcohol on their behalf, they begin a strange relationship with Sue Ann Ellington, who they lately affectionately refer to as "Ma". Quickly realising that all may not be as it seems, the teens realise that Ma may be more foe than friend. Co-starring Diana Silvers, Juliette Lewis and Luke Evans opposite Spencer, Ma is a vicious, messy but oh so enjoyable psychological horror that gives Greta a run for its money as the campiest genre flick of the year.
A twisted delight (although somewhat undone by spoiler-heavy marketing), Ma has all the shocks and surprises that those looking for an enjoyably trashy genre entry could ask for. If it is quality you have come searching for, you may want to decline Ma's invitation and drink elsewhere; but those willing and eager to indulge in her antics will find their urges fulfilled. Director Tate Taylor, operating in an entirely new wheelhouse, knows exactly the tone he is aiming for here: an utterly shlocky, overwhelmingly camp and downright nasty horror-thriller -- it's almost as if flying completely off the rails was part of the plan.
Ma's script, co-written by Scotty Landes with Taylor, is a mixed bag. Its narrative developments are clunky and the dialogue (especially between the teenagers) is unnatural and stilted, leading to an uneven pace; although it sits at only 99 minutes, it feels longer, with the sluggish transition into the third and final act most revealing of its structural problems. On the flipside though, Ma is a character of surprising complexity and the film incites empathy towards her by crafting a backstory with depth and disconcerting resonance. If it's painted rather broadly - and it twists easily foreseen - at times, it's effects are still felt thanks to the tremendous leading performance, elevating it beyond something comparatively more senseless.
Furthermore, while not thorough, the film begins deconstructing the mammy archetype well, making it a far more layered experience than may be initially perceived. It registers as more than a throwaway thought and despite the payoff not coalescing into something quite as satisfying, it nevertheless provides the film with an additional layer to consider - which is more than many other horror films are willing to provide. Populated with instantly memorable lines and already (and hopefully never ceasing) well-memed moments, Ma has all the makings of a cult classic.
Ma's script, co-written by Scotty Landes with Taylor, is a mixed bag. Its narrative developments are clunky and the dialogue (especially between the teenagers) is unnatural and stilted, leading to an uneven pace; although it sits at only 99 minutes, it feels longer, with the sluggish transition into the third and final act most revealing of its structural problems. On the flipside though, Ma is a character of surprising complexity and the film incites empathy towards her by crafting a backstory with depth and disconcerting resonance. If it's painted rather broadly - and it twists easily foreseen - at times, it's effects are still felt thanks to the tremendous leading performance, elevating it beyond something comparatively more senseless.
Furthermore, while not thorough, the film begins deconstructing the mammy archetype well, making it a far more layered experience than may be initially perceived. It registers as more than a throwaway thought and despite the payoff not coalescing into something quite as satisfying, it nevertheless provides the film with an additional layer to consider - which is more than many other horror films are willing to provide. Populated with instantly memorable lines and already (and hopefully never ceasing) well-memed moments, Ma has all the makings of a cult classic.
Octavia Spencer fabulously indulges in Ma, offering an unexpected but deliciously manic yet carefully crazed performance that you simply cannot take your eyes off. Her natural charisma as one of the most likeable working actors today serves the character's arc well, with the disturbing sharp left into ruthless nastiness even more fascinating to watch. Despite the more jaunty character beats - including one in which she demands a rude teen to strip - Spencer's ability to change on a dime, flitting between the creepy and comedic, undoubtedly sells this pinballing narrative. Her supporting cast are all varying shades of 'fine' or 'good', but it's her name above the poster for a reason -- she's utterly terrific and I could watch her play Ma for a long time coming.
While its storytelling may be laboured at times and its quality somewhat questionable, there is no denying the sheer, shlocky fun that Ma provides audiences looking for a macabre time with. Whether it would be nearly as effective without Octavia Spencer's perfectly-balanced, endlessly compelling central turn is another question entirely, but in committing to the film as enthusiastically as she does, and with director Tate Taylor's support at every turn, she elevates Ma into a frequently enjoyable, brilliantly bonkers flick. Don't let her drink alone!
7/10
(An extra star for one of my favourite narrative beats of the year, in which Spencer utters two words after committing a particularly ghastly act, then scored by Earth, Wind and Fire's September, that make her worthy of an Oscar nomination, this or any year)
While its storytelling may be laboured at times and its quality somewhat questionable, there is no denying the sheer, shlocky fun that Ma provides audiences looking for a macabre time with. Whether it would be nearly as effective without Octavia Spencer's perfectly-balanced, endlessly compelling central turn is another question entirely, but in committing to the film as enthusiastically as she does, and with director Tate Taylor's support at every turn, she elevates Ma into a frequently enjoyable, brilliantly bonkers flick. Don't let her drink alone!
7/10
(An extra star for one of my favourite narrative beats of the year, in which Spencer utters two words after committing a particularly ghastly act, then scored by Earth, Wind and Fire's September, that make her worthy of an Oscar nomination, this or any year)
Summary: While it doesn't quite reach its full potential, Octavia Spencer elevates Tate Taylor's Ma's gloriously shlocky and indulgently camp thrills considerably, building a no doubt trashy but endlessly entertaining and deliciously dark flick. Don't let her drink alone!