PLOT: It tells the story of a newly pregnant couple who are forced to take in an ailing, estranged stepmother.
REVIEW: The name Eggers has been widely associated with great cinema due to Robert‘s wonderful filmmaking abilities with films like The Witch, The Lighthouse, and The Northman. But he actually has two brothers who are trying to make a name for themselves, writing and directing The Front Room. It’s going to be hard not to compare Sam and Max to their brother Robert but their styles couldn’t be more different. And it results in a very mixed bag.
The Front Room follows Belinda and her husband, Norman, as they prepare for the arrival of their baby. To help with the arrival, Norma’s estranged stepmother moves in with them. But instead of just providing financial assistance, she wants to manipulate the family in her own way. As someone with a twisted fascination with I Still Know What You Did Last Summer, I was excited to see Brandy Norwood return to the horror genre. This is really her film and her journey, and she’s put through the ringer. Belinda has worked her entire life to excel yet is always being held back through no fault of her own. It’s very relatable, and I was on her side the whole way through.
There’s a deeply religious element of The Front Room, with Solange having very extreme views. Kathryn Hunter is very impressive in the role, giving just the right amount of vulnerability and wickedness. She’s a little over the top by the end, but it’s hard to grasp her true intentions at first. Anyone who has dealt with a nightmare family member will understand the manipulation at play here. The way Solange can worm her ideas into Norman and how much she consistently plays the victim. As someone who just doesn’t jive with religion, I found Solange to be increasingly frustrating. It reached a point where I genuinely hated her and was waiting for her character to meet a cruel fate.
The wall between Solange and Norman clarifies that they were very at odds during their childhood. The decision to include Solange in their household is something he rightfully fights, adding some irony to the fact that Belinda was initially positive regarding the move. But Solange is overly evil to the point that Norman’s ignorance to it just makes him look like an idiot. While the filmmakers clearly intend these frustrations, the payoff isn’t enough to make the struggles worth it. I also want to ensure I mention the score, as it was easily my favorite element of the film. The high strings and organ feel like something out of Psycho or Rosemary’s Baby.
Visually, The Front Room takes advantage of shallow depths of field and the countryside. But there’s less mastery here than there is in Robert’s movies, with multiple shots having soft focus and there being much less purpose. And I think I’ve had my fill of shots of piss and shit as between Solange and the baby, there’s a lot of it. There’s also nudity in the film, but not in the way that horror fans usually like. There’s discomfort in nearly every element, which certainly crosses over into the viewing experience. I don’t see this being a film I revisit often, if at all.
Ultimately, The Front Room feels like the filmmakers are trying to get out their frustrations regarding an evil mother-in-law. But in the process, they never really delve into why she’s so evil and manipulative, taking away from the overall narrative. Moments that should be important are glossed over without much thought. Whether it’s the actual move-in or the birth itself, it lacks connection to the stuff they show us. Unlike when other studios make a misstep for attempted profit (Blumhouse, I’m looking at you), this still feels like A24 is trying. It’s still Rated R, and they are trying to tell a character-focused story. It just doesn’t entirely come together in the end.
THE FRONT ROOM IS PLAYING EXCLUSIVELY IN THEATERS ON SEPTEMBER 6TH, 2024.