REVIEW: Filmmaker Laura Moss’s birth/rebirth takes the Frankenstein tale into bold — and very weird — new directions.
There’s love in even this most perilous scheme — that’s the nugget of truth that Moss’s film, with its efficient, increasingly suspenseful dramatic structure and dryly horrifying sense of wit, explores throughout. It’s why the movie isn’t scary — it’s. Creepier for the fact that neither Rose nor Celie is terribly creeped out by it. What does that tell us about life, death and love? Reyes and Ireland are ideal for these roles because of how well they play against each other.
All of these questions are rendered somewhat ironic by a character like Rose: who creates life both biologically, within her body, and as a scientist, in her quest to nail down a formula for reanimation, all the while failing to amount to much as a “parent,” per se. The questions resonate nevertheless.
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