Mum & Dad

¡Al menos ahora sé dónde acaban las maletas perdidas de British Airways! Una peculiar familia británica afincada en las afueras de Heathrow ha aprendido a apropiarse de todo, ya sea robando equipajes y pequeños aparatos electrónicos o simplemente secuestrando a los visitantes y al personal del aeropuerto. Aunque Mum & Dad no ofrece mucho que no hayamos visto antes en películas de este género, al menos tiene un protagonista simpático al que se le desea que escape con éxito de la casa del infierno. (25.07.2020)

This year we’ve had a lot of exploitation films, but most of them were unfortunately of very poor quality, such as Carver and Scarce. This new British entry in this perverted subgenre is not as harsh in terms of violence and brutality, as the aforementioned Carver, for instance, but unlike Carver, it’s skilfully made and can therefore boast a certain objective quality. The sobriety of the brutality on screen is a relative matter, of course, there’s still a lot more whacking, cutting and piercing various body parts than in anything that can be seen on Czech television. The terror in Mum & Dad (BTW, great name for a film like this) is more of the psychological kind, which for me is always more effective than any excessive blood orgy. That’s the main reason why I think it’s the best pure exploitation of the year – it really managed to disgust me at times. The biggest surprise is found in the last ten minutes, when it’s clear the climax will be on Christmas Eve. So, Mum & Dad turned out to be the perfect choice for this afternoon (I watched it on 24/12/2008). By the way, I’ve never seen more original Christmas decorations than this family’s. (24.12.2008)