Zena’s Period Blood: MOM AND DAD’s Gory Gratification
Zena Dixon
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It can be difficult finding horror films of quality, so allow me to welcome you to your salvation from frustration. “Zena’s Period Blood” is here to guide you to the horror films that will make you say, “This is a good horror. Point blank. PERIOD.”
“Zena’s Period Blood” focuses on under-appreciated and hidden horror films.
Have you ever enjoyed a twisted film? You sit alone for minutes, piecing together what you just saw and attempting to validate the smile curled on your face. Your brain begins the list of contacts that need to watch the film. Stop. What will they think of you, knowing that you were the one who recommended it? You realize that this film is worth risking the relationships. With 4% battery life, you text Cynthia first. “OMG! The movie Mom and Dad! Lit af! Watch now!” You hide the phone from your ogling boss, who has somehow also made the list. Oh, crap. You realize: Cynthia has kids. The kids will be damaged if they watch this film. You return to the phone. You text Cynthia. “Make sure the kids watch it, too.” You smile because you’re a jerk. You remind yourself: this film is worth the relationship.
Mom and Dad is a film that bestows hints of coming events. It opens to a suburban neighborhood; therefore, someone will die. Brian Taylor’s name appears as the director; therefore, someone will die. Lance Henriksen, who played the cuddly gorilla Kerchek in Disney’s Tarzan, has a role in the film; therefore, someone will die. It’s daytime; someone will die. Since one plus one typically equals someone dead, let’s find out why.
Taylor introduces us to a somewhat familiar school morning. Mom and dad listen to the news and inquire about everyone’s plans for the day. Over bowls of cereal there is laughter, backtalk, and silence before the family disperses. Children take the bus, ride their bikes, walk to or are dropped off at school by their parents, which is the case with mother Kendall (Selma Blair) and teenage daughter Carly (Anne Winters). After the argument from breakfast harshly concludes in the truck, Carly escapes to the high school of engaging teachers, determined athletes, cigarettes, and drugs.
By midday we sense something sinful. Parents arrive at the school hours before actual pick up time and call out for their children from the other side of doors and gates. Police and teachers firmly guard the students. Confused, one child escapes to his mother, climbing the fence and falling into arms that welcome him with a set of minivan keys excited to shank him to death. Activated by this, parents raid the football field and other parts of the school, intent on killing their children.
As with any life-threatening concern, we turn to the higher power: Dr. Oz. He broadcasts across television networks that parents are somehow being triggered to kill their children. This is referred to as rampaging. We eventually discover that static triggers them to attack. We witness the general devastation of this suburban town, but are forced to stomach the details of Kendall and husband Brent (Nicholas Cage) as they rampage after their children Carly and Josh (Zachary Arthur).
The concept of this movie was rare; still, I questioned why it had never been done before. Further research led me to footage of the movie’s premiere at the Toronto International Film Festival (TIFF), where Taylor stated that one question is typically the catalyst for all of his films: What haven’t I seen before? I respect his prerequisite to challenge the status quo on all levels. One level that I appreciate is having a true horror set mostly in the daytime.
Another challenge is one I once thought was unachievable. During a hospital scene, I assured myself that Taylor would never tease with the life of a newborn. Needless to say, I will never get my sanity back, but I never had much of it anyway, so I think I’m okay.
Blair excelled effortlessly in that scene, as she did in many others. The range of raw emotions she brandished in less than ninety minutes left me floored.
Cage mirrored her performance, which was expected since he worked with Taylor before on Ghost Rider: Spirit of Vengeance. Taylor is the Houdini of stretching Cage. In one scene, Brent
(Cage) bares his disapproval of his current life. The teenage Brent was vivacious, speeding in the car he stole from his father, boobies whacking his face as he executes donuts in an empty parking lot. He never envisioned this present, day-to-day Brent, disillusioned in a household filled with a meek wife, a disrespectful daughter and a son whose toy placement resembled a parent’s deathtrap. Using a sledgehammer, Brent demolishes the pool table intended to be his oasis from the world.
The terror of this film flourished under a warm red and orange color palette, uncommon in most modern horrors. This left the make-you-piss-your-pants work to the unnerving camera movements and angles. Cinematographer Daniel Pearl is guilty for this torture. Truthfully, I never liked Pearl. You shouldn’t either. Why? Would you like the guy who made six-year-old you go through a whole pack of underwear in a night while watching the original Texas Chainsaw Massacre? No. You wouldn’t.
Partnered with these aesthetics is the delicious score from Mr. Bill. When I discovered that Taylor knew about this musical magician, I wrestled between delight and disappointment. Mr. Bill was my secret treasure, coming into my life with his otherworldly 2014 album Settle for Mediocrity. If emojis were professional, I would insert them here. But since they’re not, I’ll professionally say, “Mr. Bill’s music is the playlist for a panty-dropping Great Gatsby party but with extraterrestrial life instead of humans.”
During TIFF, Taylor said that he didn’t understand how to convey tone. That deserves “the whatever face” emoji. He knows exactly what he is doing with tone. He also said that for many of his stories, he usually has the ending in mind first, and then he works his way backward. I did the same thing with this review. The first notes I typed will be the last of this review. Mom and Dad gave me gory gratification and will do the same for all of mankind. This is a good horror. Point Blank. PERIOD.
In addition to contributing to Dread Central, Zena Dixon has been writing about all things creepy and horrific for over six years at RealQueenofHorror.com. She has always loved horror films and will soon be known directing her own feature-length horror. Feel free to follow her on Twitter @LovelyZena.
Categorized:Editorials Reviews Zena's Period Blood
