{"id":1181,"date":"2019-11-19T15:13:36","date_gmt":"2019-11-19T14:13:36","guid":{"rendered":"https:\/\/www.senses.se\/en\/review-ma-comic\/"},"modified":"2025-06-16T19:18:47","modified_gmt":"2025-06-16T17:18:47","slug":"review-ma-comic","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-ma-comic\/","title":{"rendered":"Review: Ma (Comic)"},"content":{"rendered":"\n

The current cinematic landscape is increasingly polarized between high-budget productions, exemplified by Avengers: Endgame<\/strong><\/a>, and low-budget ventures such as Brightburn<\/a><\/strong>. Mid-budget films have become a rarity. Ma<\/strong>, with its relatively modest 50 million SEK budget (by American standards), falls into the low-budget category. A limited budget can afford filmmakers greater creative latitude, as evidenced by Brightburn<\/em>. However, with Ma<\/em>, directed by Tate Taylor<\/strong>, this potential remains largely unrealized.<\/p>\n\n\n\n

Maggie (Diana Silvers)<\/strong> and her mother, Erica (Juliette Lewis)<\/strong>, are new to town, and Maggie quickly integrates into a group of friends. These friends attempt to purchase alcohol, but their efforts are unsuccessful until Sue Ann (Octavia Spencer)<\/strong> intervenes. To their initial delight, Sue Ann buys the liquor for them, and subsequently offers her basement as a party venue. Soon, regular parties are taking place in Sue Ann’s basement. As the story unfolds, Maggie begins to suspect that Sue Ann’s intentions are not entirely benign, but the reality far exceeds her expectations.<\/p>\n\n\n\n

A key issue is the predictability of the plot. The audience is likely to anticipate the unfolding events early on, resulting in a prolonged wait \u2013 over an hour \u2013 before any genuinely suspenseful events occur. While the film aims to be a psychological thriller, relying on a slow burn to generate tension, this approach proves ineffective due to the lack of compelling incidents during the build-up. Ma<\/em> suffers from logical inconsistencies, and the characters frequently fall prey to horror movie clich\u00e9s, failing to act on obvious warning signs. Furthermore, the film attempts to portray Maggie and her mother as financially strained, with the mother working at a casino. However, this portrayal is undermined by their ownership of a Volvo V90, a vehicle valued at approximately $51,000. While a character might acquire such a vehicle through a divorce settlement, selling it would seem a more logical choice given their supposed financial circumstances. This detail feels incongruous within the film’s context.<\/p>\n\n\n\n

What are the redeeming qualities? Several aspects contribute to a slightly more favorable assessment. Foremost is Octavia Spencer’s<\/strong> performance as Sue Ann, the isolated and somewhat eccentric protagonist. Spencer delivers a compelling portrayal and is arguably the film’s strongest asset. However, her performance arguably veers into overacting towards the film’s conclusion. It is also a pleasure to see Juliette Lewis<\/strong>, although her character is significantly underutilized and could have been played by virtually anyone. Diana Silvers delivers a competent performance as Maggie, but the script limits her character’s intelligence and awareness, a crucial element that would have improved the narrative.<\/p>\n\n\n\n

The Blu-ray<\/strong> edition provides a satisfactory viewing experience. The colors, depth, and contrast are consistent with the expected standards for 1080p resolution, and the audio quality is adequate. The film features notable surround sound effects and demonstrates interesting mixing during the party scenes. The supplemental materials include two short documentaries and deleted scenes. An alternative ending is also included, but its removal from the final cut was a judicious decision, as it detracts from the small merit of the original ending.<\/p>\n\n\n\n

In conclusion, Ma<\/em> deviates significantly from expectations. Rather than delivering a suspenseful horror experience that evokes the fear of being lured to one’s demise, the film presents a slow and ultimately underwhelming narrative. However, the performances of Octavia Spencer, Juliette Lewis, and Diana Silvers prevent a complete condemnation of the film.<\/p>\n\n\n\n

\n