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&ref(https://m.media-amazon.com/images/M/MV5BZWQzMTY3MWEtMzIwOS00ODM1LWI5ODAtMzdjNDZhMTYxMTA1XkEyXkFqcGdeQXVyMTg0MTI3Mg@@._V1_SY1000_CR0,0,629,1000_AL_.jpg). Year=2020. Edward Asner, Julian de la Celle. country=USA. Liked It=198 vote. writed by=Tucia Lyman. I have never seen such a worst movie in my life. Guys don't waste your time. I hate this movie. Nothing there. Nothing. She looks like Cate Blanchet mixed with Jennifer Lawrence. M.o.m. mothers of monsters 2020. In the vein of The Bad Seed, The Babadook, and We Need To Talk About Kevin comes M. O. M. (Mothers of Monsters). This bold and disturbing found-footage thriller follows a single mother struggling to make sense of her 16-year-old son’s monstrous rage. Are his violent outbursts, macabre jokes, strange rants, and blank stares just typical teen angst? Or are they signs that he is a psychopath working toward a horrific plan? Writer/director Tucia Lyman makes her feature film debut with this twisted tale, which is told entirely through videos. You see, 42-year-old Abbey Belle (Melinda Page Hamilton) fears her son Jacob (Bailey Edwards) has the world fooled. He doesn’t fit the profile of a burgeoning psycho. He has friends, is well-liked by his teachers, and gets great grades. But at home he is a beast, trashing rooms, issuing grisly threats, and keeping his closet conspicuously locked. Desperate to prove her son is a threat, she records him to collect evidence. It begins with slapdash phone recordings, clumsily framed and often secretly filmed. Soon, Abbey escalates her efforts, hiding motion-activated spy cameras all over her home, including Jacob’s bedroom, so she can expose the truth. But is she ready to face it? Much of the film is narrated by Abbey, who delivers frantic monologues to one nanny cam or another trying to paint the full portrait of her son’s twisted transformation from proud bedwetter to dangerous sadist. Her camera cruises over a bunch of mutilated high-heels, claiming this was his doing. She recounts his past transgressions and tries to bait him into outbursts to capture his hidden monster on tape. But along the way, Jacob?wrathful and cold as he may be?begins to shape a narrative of his own, one that posits his mother is mentally ill, off her meds, and drinking to the point of delusion. Who are we to believe? Curiously, the film plays as if on a computer screen with a messy desktop, full of video thumbnails. An unseen viewer steadily uncovers this war between mother and son by randomly clicking on one video after another. While this narrative method may seem haphazard, it’s pretty linear in its telling. Lyman has a sly hand in the structure, moving from Abbey’s allegations to Jacob caught on tape being increasingly cruel and violent. Yet, the found footage aspect begs you to wonder whose perspective you are in. Who is watching these videos within the world of the film? Who is the audience Abbey is making them for? And what is that sound that keeps playing amid them? It’s a thick, thunking sound, almost mechanical but not quite, yet increasingly unsettlingly. Leanly budgeted but shrewdly shot, M. (Mothers of Monsters) creates a claustrophobic feel, breaking the family home into four monitored settings, each of which feels like a cage. But who is trapped with who? Tension builds thanks to the on-camera sparring of Hamilton and Edwards. With disheveled hair, wild eyes, and a ragged tone, Hamilton plays Abbey like a woman on the verge of a nervous breakdown. She often quakes with the strain of it all. Yet Abbey is first and foremost a mother who fears and loves her son in equal measure. Hamilton captures this heartbreaking conflict with a sharp tone that repeatedly melts into soft coos, desperately trying to cajole this mother’s monster to sweetness. Edwards gives her no warmth in return. His eyes stare is dark, focused, and scorching, whether it’s turned at his mother or at the lens of a hidden camera he’s uncovered. His mouth knits into crooked grins and tight, intimidating frowns. His laugh is a bark, cold and mocking. Where Hamilton’s performance is grounded in parental stress, Edwards leans into the theatricality of teen angst, painting Jacob as a caricature of male rage and juvenile recklessness. Lyman’s hints that Abbey may be an unreliable narrator suggest this portrait of Jacob is incomplete. Which once more makes watching the film and interactive experience as we’re asked to untangle speculation and projection from hard truths. Like most found footage movies, the journey can get a bit wonky, limited by the angles narratively established and the simple logic of “who would carry a camera when this horrible thing is happening!? ” (See Cloverfield. ) However, Lyman avoids the pitfalls of the subgenre by turning her established cameras into tools for the estranged mother and son to communicate. They can’t talk face to face because of so much bad blood, but the distance of the screen allows them to open up as they never have before. Plus, it gives both Hamilton and Edwards to focus their intensity right down the barrel of the lens and right at us. You will squirm. Through this toxic mother-son tale, M. (Mothers of Monsters) explores the fear of school shootings, the hell of being a teenager, and the madness of being a parent. All of which culminate into a third act that is sharply horrifying and undeniably haunting. All told, this is a solidly scary thriller. Yet what’s most impressive is how Lyman thoughtfully structured the story, cinematography, and performances to do so much with a low budget. Simply put, this gritty indie is a diamond in the rough, and horror fans should seek it out. M. (Mothers of Monsters) opens in Los Angeles on March 13. Header Image Source: Indie Rights Next Article.
M.o.m. mothers of monsters. M.O.M. Mothers of monsters joker. Full movie. M.o.m. mothers of monsters plot. Mom mothers of monsters. We need prisons without electricity, running water, heat, and buildings. just ankle bracelets and a forest. M.o.m. mothers of monsters wikipedia. M.O.M. Mothers of monster hunter. M. O. M (Mothers Of Monsters), 2020. Directed by Tucia Lyman. Starring Melinda Page Hamilton, Bailey Edwards, Julian de la Celle, Janet Ulrich Brooks, and Edward Asner. SYNOPSIS: A distraught mother suspects her teenage son is plotting a school shooting, but when he slips through the cracks of the system, she is forced to take matters into her own hands. Tucia Lyman’s M. M (Mothers Of Monsters) exudes big-time We Need To Talk About Kevin energy through a “found footage” lens. Combative scripting offers oodles to ponder about mental illness, parental limitations, adolescent awkwardness ? I’m just not positive Lyman’s message prevails. As surveillance videos persuade viewers with either the makings of a murderer or the delusional breakdown of a single mother, intentions become lost in translation. A disappointment given the performances provided. Abbey Bell (Melinda Page Hamilton) believes she’s raising America’s next mass murderer in son Jacob (Bailey Edwards). As a precaution and hopeful prevention, she documents Jacob’s habits day by day. Sometimes blatantly with a smartphone, otherwise through hidden recording devices placed in strategic household locations. What she hopes for is the truth, no matter how it hurts her family. What she doesn’t hope is Jacob catches on, turns the proverbial tables, and pushes his mother to her own brink of sanity. Guess what happens. Melinda Page Hamilton and Bailey Edwards are proficient manipulators as actors. One the anarchistic outcast who displays all the signs of rebellious angst, the other a mamma who dwells on past traumas out of replication fears. In the way Hereditary suggests we can’t escape our bloodlines, M. M explores the same programmed territories in ways that permit Hamilton an arsenal of performative weapons. Edwards nails playing reclusive, distant, and stupidly bratty in ways that’re outright troubling but still possibly teenage obnoxiousness ? yet Hamilton dives deeper. Abbey Bell balances morality with maternal instincts, made both a martyr and instigator. Completely out of balance with dramatized purpose, leaving the entire investigation in question as a narrative foil. Nightmare fodder as presented is psychologically minded, never in-your-face scary. Benefits include no weak jumps into framed cinematography that many other first-person filmmakers mistake for “scares, ” but also leaves the film a bit underserved in the tension department. Jacob’s outbursts equate to slammed doors and furious rants about his hidden Playstation being returned, while Abbey’s sleuthing uncovers coincidental red flags from Nazi gas masks to mapped school blueprints. Altercations remain verbal, and can sting with unease as Jacob’s morbid, vague “threats” hang overhead. A battle of wits urges onlookers to question how signals are processed, alas the film’s payoff doesn’t align with softer buildups in this critic’s opinion. As Jacob tortures his ailing mother, her mention of relative “Jerry” becoming ever-relevant, the “monster” aspect of M. M struggles to develop its meaning. Lyman’s “in limbo” storytelling keeps swapping allegiances, until a third act that abruptly stops pondering the unconscionable dilemma Abbey faces and becomes a straight horror diversion. The problem is, “horror” never overtakes. We spend so much time wading through the complications of accusations and possible fantasy, only to spin out of control in a way that benefits neither plot angle. To say there’s thoughtfulness in Lyman’s first and second acts would be correct ? both Abbey and Jacob are victimized in their own ways ? and yet, our climax is a big, gusty question mark. Certainly dark enough to appease groups of genre fans, but undermines larger conversations instigated by preceding buildups. M. M (Mothers Of Monsters) is a simple concept: what the hell is a parent to do if their child shows signs of violent tendencies? Then it gets messier. What if implanted preconceptions warp our reading of someone else’s actions? Instability is projected, lives are thrown into turmoil, privacy invaded ? Tucia Lyman is unafraid when exposing uncertainty between mother and son. Where I’m lost is the payoff, which climaxes on a derivative note versus the previously introspective qualities of a perspective-based thriller that weaponizes just that: perspective. In any case, worth the investment for anyone still curious about the risky business of this unthinkable real-world situation. Hopefully, you’re more in-tune with Lyman’s finishing blow. Flickering Myth Rating ? Film: ★ ★ / Movie: ★ ★ Matt spends his after-work hours posting nonsense on the internet instead of sleeping like a normal human. He seems like a pretty cool guy, but don’t feed him after midnight just to be safe (beers are allowed/encouraged). Follow him on Twitter/Instagram/Letterboxd (@DoNatoBomb).
Mom of monsters. M.o.m. mothers of monsters movie. Mothers of monsters.
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I completely relate to these brave people. My mum was a monster too. My dad was a coward, a fisherman who would be away for days (avoidance)but she broke him eventually too when he retired. (Long story he weighed 45 kgs in the end) I never really confronted my parents. They were well aware. They're dead now but confrontation was pointless. Where the HELL do you start, and they denied. I had lots of counselling and psych care for about 10 years and I'm great now. Odd how people who are treated so terribly as kids turn out to be such lovely adults. God bless you all.
M.o.m. mothers of monsters soundtrack. This is an uncompromising look at a kind of severe behavioral dysfunction that many might recognize aspects of. It is not a story of redemption or resolution of conflict. As such, it has well developed elements of suspense and horror. The acting is exceptionally good, and the production is overall excellent. For those who appreciate a creative Indie film and are willing to take a hard look at pervasive societal problems, this is a must see.
The inter-dependable relationship between mothers and their sons has been explored throughout horror for decades. From Alfred Hitchcock’s “Psycho” the 1960 landmark film which left an indelible mark on cinema forever, right up to the recent “ Daniel Isn’t Real ” which sought to explore the link between mother and son and more specifically, mental illness, it’s clear that film has a lot to say on the subject. M. O. Mothers of Monsters shares some of the DNA of both these films and collectively they all go beyond surface exploration by highlighting the lasting impact that mental health can have upon individuals, the family unit and to outsiders. As the mother in the film will say, “My greatest fear is that Jacob will hurt someone else. ” On the surface, what we are presented with is the story of Abigail (Melinda Page Hamilton, “God Bless America”), a single mother who suspects her teenage son Jacob (Bailey Edwards, “ My Dead Boyfriend ”) is on the verge of committing a high school massacre, but underneath this is the possibility of Abigail as unreliable narrator ? are her assertions about Jacob based in truth or, in dealing with her own mental health problems, has everything become too much? In essence, this is the question that keeps us watching owing largely of course to the two central performances which are faultless. We begin to learn snippets about the pair which are told through characters using electronic devices that range from a mobile phone to secret security systems. Abigail quickly graduates from a handheld camera to a comprehensive four screen CCTV system which she installs in the privacy of her closet where she can watch and record her son undisturbed. We also hear throughout mention of Jerry, a connection to Jacob and Abigail that hovers ominously over both the past and present. The film is weighted in Abigail’s favor as we learn that she has in fact been filming Jacob for most of his life and through this writer/director Tucia Lyman poses a further set of interesting questions about whether surveying those we love is justifiable simply because we care for them. It also reminds us of the important moral lesson that when we decide to pry into the lives of others, we might not necessarily like what we find. As things progress Abigail seems more and more absorbed in recording everything and in capturing all aspects of her life, even taking a camera to the local supermarket. Shut up tightly in the confines of her closest to where all her footage is streamed, she delivers monologues that intensify as she claims this is “doing it for the other mothers. ” She even presents the audience with a threatening statement urging us to reflect on our own complicity: “If you are not a Mom with a troubled kid and you are watching this, then you are also a psychopath. Have some respect. ” The information we are given about Jacob feels purposefully chosen in order to echo the information fed to us by the media with regards to teenage shooters in order to push us closer to assuming his guilt. He has spent time in a diversion program, plays 5-6 hours a day on video games just “shooting people, ” and has a pet lizard named Adolf. The question as to whether a high school shooter has a set of defining characteristics or not is further explored through Abigail’s admission that, “He doesn’t fit the profile” because he “Has friends, gets good grades. ” Preoccupied with what is “normal behavior” Abigail overlooks the fact that there is no blueprint for those who cause such atrocities. Through the considerable amount of time we spend with Abigail (and importantly, alone without interference) we also hear that she has not been believed in the past when seeking help for Jacob and that her own mother has encouraged her to record everything that now takes place, casting a further shadow of doubt over her account. Mothers of Monsters present us with conflicting information about the pair at its center which works to hold our attention and keep us on our feet in terms of who we can trust and what is the truth of any situation. The first time we see Jacob is as an infant, angelic and defenseless, it’s a smart choice to have this image as our introduction to him as it immediately evokes sympathy and contrasts with the assumption of him as the “monster” of the film. In the background we hear the voice of an irritated and frustrated parent Abigail who is seeking an explanation from her son for some misbehavior, thus their relationship is branded with tension right from the opening. We also see clips of footage of the infant Jacob sleeping as we hear Abigail say, “Sleeping Jacob is my favorite Jacob” which says enough to seem harmless (what parent hasn’t wished for some reprieve from their child) but also enough to make us consider what is it about this boy that makes his mother prefer him when he is asleep as opposed to awake? As a teenager we see him come home and throw objects about the living room in an attempt to win back his confiscated PlayStation. The following morning Jacob emerges from his room to find Abigail asleep on the couch with an empty bottle of wine, evidence to support earlier claims he makes that his mother’s behavior towards him is a result of her drinking. However, as different as they might perceive themselves to be from one another, their mirrored reactions to Skype chats by closing the laptop shut abruptly and the macabre drawings they both sketched as children, suggests that perhaps Abigail and Jacob have more in common than they think. Drawing on the ghosts of its predecessors, M. Mothers of Monsters is a modern take on the mother-son dynamic in that it exploits the collective fear that envelops the tragic phenomenon of high school shootings. In doing so, it relies on and subverts the preconceived notions we hold with regards to how indicators can work to fit a “profile” of those at risk of committing such acts in order to build a stomach sucking sense of dread. Melinda Page Hamilton has spoken about how “we are in a pervasive social crisis” and one of the film’s strengths is its ability to remain faithful and sensitive towards the issues it is uncovering. In never trying to push things too far or get carried away with being too clever it maintains a believability at all times which is the key to its effectiveness.
M.o.m. mothers of monsters wiki. Been through the emotional, the physical, and the sexual. All by my dad. My mother had severe mental delays, and couldn't help me. I blamed her for not helping me, but later realized she couldn't. She couldn't even save herself from his abuse towards herself. M.o.m. (mothers of monsters) movie. M.O.M. Mothers of monster high.
M.O.M. Mothers of monsters university. My attitude toward abusers is that if they want forgiveness, they need to answer for their crimes and pay restitution. Few abusers want forgiveness. They want their victims to continue to be the funnel for more abuse. Which is why you should not expose anyone that you love to a known abuser. If they cannot control you they are low enough to go behind your back to go after your children or anyone that you love. They lived off of the power they had over you. Like any tyrant would. When, and I hope you are not still tangled up in their web in any way. These people want to use you. If you do not set yourself free from their abuse? It will never end. Protect children from them.
Seems interesting. Two of my favorite Sridevi and Sajal Ali. Whats crazy is Eunice has the nerve to call herself a Jehovah's witness. M.O.M. Mothers of. M.o.m. mothers of monsters spoilers. Love to see u sri mam... u r wondorful... a very beautiful the queen of u... i am a very big fan of u. wait to see u in this movie very great performance as u. Trailer. M.O.M. Mothers of monsters and men. M.o.m. mothers of monsters ending. Child abuse is very common amongst Jehovah's Witnesses. Recently, the Australian Royal Commission held televised hearings into rampant child sexual abuse and cover ups within the JW community. Psychology and Parenting Skills should be requisites for all students every year of secondary school. It would help children to grow up understanding themselves and their lives better, give them opportunities to express their situations and get help, and help them to become better, healthier parents. What could be more important than that.
M.O.M. Mothers of monsters. Jason Derulo: SWAHLALALAAA. Btec quiet place. What Tucia Lyman has created here with MOM is one of a kind. With so much content to see and absorb out there in the world today, it becomes harder and harder to find a unique way to tell a story - and Tucia nails it.
M.o.m. mothers of monsters soundtrack. This is an uncompromising look at a kind of severe behavioral dysfunction that many might recognize aspects of. It is not a story of redemption or resolution of conflict. As such, it has well developed elements of suspense and horror. The acting is exceptionally good, and the production is overall excellent. For those who appreciate a creative Indie film and are willing to take a hard look at pervasive societal problems, this is a must see.
The inter-dependable relationship between mothers and their sons has been explored throughout horror for decades. From Alfred Hitchcock’s “Psycho” the 1960 landmark film which left an indelible mark on cinema forever, right up to the recent “ Daniel Isn’t Real ” which sought to explore the link between mother and son and more specifically, mental illness, it’s clear that film has a lot to say on the subject. M. O. Mothers of Monsters shares some of the DNA of both these films and collectively they all go beyond surface exploration by highlighting the lasting impact that mental health can have upon individuals, the family unit and to outsiders. As the mother in the film will say, “My greatest fear is that Jacob will hurt someone else. ” On the surface, what we are presented with is the story of Abigail (Melinda Page Hamilton, “God Bless America”), a single mother who suspects her teenage son Jacob (Bailey Edwards, “ My Dead Boyfriend ”) is on the verge of committing a high school massacre, but underneath this is the possibility of Abigail as unreliable narrator ? are her assertions about Jacob based in truth or, in dealing with her own mental health problems, has everything become too much? In essence, this is the question that keeps us watching owing largely of course to the two central performances which are faultless. We begin to learn snippets about the pair which are told through characters using electronic devices that range from a mobile phone to secret security systems. Abigail quickly graduates from a handheld camera to a comprehensive four screen CCTV system which she installs in the privacy of her closet where she can watch and record her son undisturbed. We also hear throughout mention of Jerry, a connection to Jacob and Abigail that hovers ominously over both the past and present. The film is weighted in Abigail’s favor as we learn that she has in fact been filming Jacob for most of his life and through this writer/director Tucia Lyman poses a further set of interesting questions about whether surveying those we love is justifiable simply because we care for them. It also reminds us of the important moral lesson that when we decide to pry into the lives of others, we might not necessarily like what we find. As things progress Abigail seems more and more absorbed in recording everything and in capturing all aspects of her life, even taking a camera to the local supermarket. Shut up tightly in the confines of her closest to where all her footage is streamed, she delivers monologues that intensify as she claims this is “doing it for the other mothers. ” She even presents the audience with a threatening statement urging us to reflect on our own complicity: “If you are not a Mom with a troubled kid and you are watching this, then you are also a psychopath. Have some respect. ” The information we are given about Jacob feels purposefully chosen in order to echo the information fed to us by the media with regards to teenage shooters in order to push us closer to assuming his guilt. He has spent time in a diversion program, plays 5-6 hours a day on video games just “shooting people, ” and has a pet lizard named Adolf. The question as to whether a high school shooter has a set of defining characteristics or not is further explored through Abigail’s admission that, “He doesn’t fit the profile” because he “Has friends, gets good grades. ” Preoccupied with what is “normal behavior” Abigail overlooks the fact that there is no blueprint for those who cause such atrocities. Through the considerable amount of time we spend with Abigail (and importantly, alone without interference) we also hear that she has not been believed in the past when seeking help for Jacob and that her own mother has encouraged her to record everything that now takes place, casting a further shadow of doubt over her account. Mothers of Monsters present us with conflicting information about the pair at its center which works to hold our attention and keep us on our feet in terms of who we can trust and what is the truth of any situation. The first time we see Jacob is as an infant, angelic and defenseless, it’s a smart choice to have this image as our introduction to him as it immediately evokes sympathy and contrasts with the assumption of him as the “monster” of the film. In the background we hear the voice of an irritated and frustrated parent Abigail who is seeking an explanation from her son for some misbehavior, thus their relationship is branded with tension right from the opening. We also see clips of footage of the infant Jacob sleeping as we hear Abigail say, “Sleeping Jacob is my favorite Jacob” which says enough to seem harmless (what parent hasn’t wished for some reprieve from their child) but also enough to make us consider what is it about this boy that makes his mother prefer him when he is asleep as opposed to awake? As a teenager we see him come home and throw objects about the living room in an attempt to win back his confiscated PlayStation. The following morning Jacob emerges from his room to find Abigail asleep on the couch with an empty bottle of wine, evidence to support earlier claims he makes that his mother’s behavior towards him is a result of her drinking. However, as different as they might perceive themselves to be from one another, their mirrored reactions to Skype chats by closing the laptop shut abruptly and the macabre drawings they both sketched as children, suggests that perhaps Abigail and Jacob have more in common than they think. Drawing on the ghosts of its predecessors, M. Mothers of Monsters is a modern take on the mother-son dynamic in that it exploits the collective fear that envelops the tragic phenomenon of high school shootings. In doing so, it relies on and subverts the preconceived notions we hold with regards to how indicators can work to fit a “profile” of those at risk of committing such acts in order to build a stomach sucking sense of dread. Melinda Page Hamilton has spoken about how “we are in a pervasive social crisis” and one of the film’s strengths is its ability to remain faithful and sensitive towards the issues it is uncovering. In never trying to push things too far or get carried away with being too clever it maintains a believability at all times which is the key to its effectiveness.
M.o.m. mothers of monsters wiki. Been through the emotional, the physical, and the sexual. All by my dad. My mother had severe mental delays, and couldn't help me. I blamed her for not helping me, but later realized she couldn't. She couldn't even save herself from his abuse towards herself. M.o.m. (mothers of monsters) movie. M.O.M. Mothers of monster high.
M.O.M. Mothers of monsters university. My attitude toward abusers is that if they want forgiveness, they need to answer for their crimes and pay restitution. Few abusers want forgiveness. They want their victims to continue to be the funnel for more abuse. Which is why you should not expose anyone that you love to a known abuser. If they cannot control you they are low enough to go behind your back to go after your children or anyone that you love. They lived off of the power they had over you. Like any tyrant would. When, and I hope you are not still tangled up in their web in any way. These people want to use you. If you do not set yourself free from their abuse? It will never end. Protect children from them.
Seems interesting. Two of my favorite Sridevi and Sajal Ali. Whats crazy is Eunice has the nerve to call herself a Jehovah's witness. M.O.M. Mothers of. M.o.m. mothers of monsters spoilers. Love to see u sri mam... u r wondorful... a very beautiful the queen of u... i am a very big fan of u. wait to see u in this movie very great performance as u. Trailer. M.O.M. Mothers of monsters and men. M.o.m. mothers of monsters ending. Child abuse is very common amongst Jehovah's Witnesses. Recently, the Australian Royal Commission held televised hearings into rampant child sexual abuse and cover ups within the JW community. Psychology and Parenting Skills should be requisites for all students every year of secondary school. It would help children to grow up understanding themselves and their lives better, give them opportunities to express their situations and get help, and help them to become better, healthier parents. What could be more important than that.
M.O.M. Mothers of monsters. Jason Derulo: SWAHLALALAAA. Btec quiet place. What Tucia Lyman has created here with MOM is one of a kind. With so much content to see and absorb out there in the world today, it becomes harder and harder to find a unique way to tell a story - and Tucia nails it.
Fantastically acted and creatively edited, MOM creates an experience that sticks with you in your bones. Even someone like me, who tends to shy away from "darker films, found myself COMPLETELY engrossed with the subjects. Bravo Tucia! When's the next one. Daniel, as a mother to an 11 year old boy, your abuse makes me so ill! I am so sorry that you did not have the mom that God intended you to have! I will pray for complete healing for you! God bless you sweet, sweet man.
M.o.m. mothers of monsters trailer. M.o.m. mothers of monsters (2020) trailer. M.o.m. mothers of monsters (2020) soundtrack. M.o.m. (mothers of monsters. M.o.m. mothers of monsters (2020. Critics Consensus No consensus yet. 73% TOMATOMETER Total Count: 11 88% Audience Score User Ratings: 58 M. O. M. (Mothers of Monsters) Ratings & Reviews Explanation M. (Mothers of Monsters) Videos Photos Movie Info A distraught mother suspects her teenage son is plotting a school shooting, but when he slips through the cracks of the system, she is forced to take matters into her own hands. After installing an elaborate spy camera system in their home, Abbey captures a series of disturbing videos that confirm her worst fears. Torn between a mother's unconditional love and a mother's acute intuition, Abbey caters her videos to all the other "mothers of monsters" online. Abbey's plan backfires when Jacob uses a dark family secret against her, launching both mother and son on a terrifying, and ultimately deadly, game of cat and mouse. Rating: NR Genre: Mystery & Suspense Directed By: Written By: In Theaters: Mar 13, 2020 limited On Disc/Streaming: Runtime: 97 minutes Studio: Indie Rights Cast Critic Reviews for M. (Mothers of Monsters) Audience Reviews for M. (Mothers of Monsters) M. (Mothers of Monsters) Quotes Movie & TV guides.M.o.m. mothers of monsters review. M.O.M. Mothers of monstersgame.
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M.o.m. mothers of monsters synopsis. I thought This was something else. With the Title and Appropriate Audience banner. I'm sorry I can't help it ?.
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