Meredith (Emily Hampshire) is a new mother. Her husband, Jared (François Arnaud), seems more enthusiastic about the change in their life, but at first, this is written off as post-birth exhaustion. As her malaise lingers, Jared and Meredith begin seeing a therapist, hoping to get to the root of the problem. But things get worse: Meredith isn’t just suffering from postpartum depression—she’s seeing frightening figures in her house. She also starts to have visions of her baby, Alex, grown into a young boy. When Alex dies in an accident, the vision persists, and Meredith begins to lose her ability to distinguish reality from fantasy.
Mom (2024) has received some very mixed reviews, and I think that’s because drama fans expect a different kind of drama, and horror lovers expect a different kind of horror. While the drama is stifled by the horror elements—often focused on the surface-level experiences of the characters in an effort to build suspense—the frequent use of formulaic jump scares (at such regular intervals you could almost set your watch) limits how the horror story unfolds. As a fan of small-set horror films, I agree with many viewers that Mom missed a lot of good opportunities and suffered from pacing problems.
It’s frustrating, because in terms of acting, cinematography, and themes, Mom really stands out among recent horror flicks I’ve seen! Likewise, the promotional materials promised something just a bit eerier than what was ultimately delivered. The pacing, alongside a desire to be as much drama as horror, frequently kills the suspense. Mom could have used its time more effectively to forge a deeper connection with the characters and better establish a sense of normalcy before breaking it with the frightening moments. This editing mistake flattens the film’s tone and impacts viewer engagement. However, with a fascinating metaphysical twist at the end and themes many women will quickly identify with, Mom might become a cult hit among female horror fans. If your collection serves a lot of creepy girls, consider Mom more highly. Strong optional purchase.
Where does this title belong on public library shelves?
MOM fits best in the Horror or Psychological Thriller section, though libraries with curated shelves for Women in Film, Motherhood in Media, or Mental Health in Cinema might also consider placing it there. It may appeal especially to horror fans interested in female-centered or mental health-related storylines.
What types of collections or viewers would most benefit from this title?
MOM is most suitable for libraries or academic institutions with a strong focus on genre cinema, particularly psychological horror and films with female leads. It also complements collections exploring portrayals of mental illness, motherhood, or grief. The film may resonate strongly with viewers interested in eerie, emotionally complex stories, especially women and horror fans looking for less conventional narratives.