Over the past half-decade, we’ve seen a resurgence in quality horror films. From 2017’s Get Out to a slew of Blumhouse and A24 films, the genre has been revitalized through creative projects that feature comedy, social commentary, and impressive technical elements. While director Greg Pritikin, with The Mistress, hopes to continue this trend, his film falls flat by imitating its influences rather than taking inspiration from them.
After a foreboding title sequence reminiscent of Rosemary’s Baby, the film opens on newlyweds Parker and Madeline, played by John Magaro and Chasten Harmon. The couple has just moved into an old Victorian home and…you probably already know where the story goes from here. The creepy old mansion, with its twisting corridors and tucked away rooms, has a dark and mysterious past. As its history is revealed—through unearthed postcards and dreamlike flashbacks—dreadful events transpire. As things spiral, we question what’s real and whom to believe. It’s a relatively paint-by-numbers story that never feels unique, satisfying, or cohesive. And one big reason the story misses the mark is that it feels careless. A film like Get Out in part works well because it feels so thoughtful—every detail matters and there is a central message to tie it all together. The Mistress feels empty because it fails in this regard, leaving loose threads and unanswered questions. And not because they should be left to the interpretation of the viewer—but because these details aren’t fully fleshed out.
It’s ironic that this is writer-director Greg Pritikin’s most recent movie since the largely panned 2013 anthology Movie 43. In a sense, The Mistress feels similar, its elements never converging. The first act is best—the viewer can see the trail of breadcrumbs form and is filled with anticipation for the other shoe to drop. In the second act, one tries to piece together the story, unsure what’s real and how it all connects but intrigued and hopeful it will. But by the third act, you’re exasperated, realizing there isn’t a sensible way to wrap it all up. By the time the big reveal comes, the audience is already halfway there and the answer doesn’t clear up many of the plot points. It feels like the writers just checked off the “plot twist” box, and ultimately, the entire film feels like a box-checking exercise and not a thoughtful, cohesive story.
The first two acts are built on a solid narrative foundation, supported by a skillful technical crew. There is an arthouse feel to the movie, with heavy use of colors, visually pleasing set pieces, an impressive score and interesting camerawork. As far as the acting goes, John Magaro, coming off an excellent performance in Past Lives, does well as the lead. Towards the film’s climax, there are some histrionic scenes that feel outside of his playbook, but Magaro is great overall as the likable and relatable protagonist. The supporting cast does a fine job, and one has no gripes with Chasten Harmon. The character of Dawn, played by Kat Cunning, feels a bit heavy-handed and out of place in relation to the others, but that’s not the problem.
In the end, The Mistress isn’t a bad film—it’s just disappointing that Pritikin got so many parts right but couldn’t bring the story home. If Pritikin had settled on an identity or message and committed to it, it could have been something special.
Photo courtesy of Blue Fox Entertainment
The post The Mistress appeared first on Spectrum Culture.