Despite the outlandishness of the title, this movie handles its melding of horror with satire thoughtfully, tackling social issues and commentary that ambitiously overreaches a terse running time and stuffed final act. There are great lines and concepts that unfortunately get shortchanged. The periphery actors and performances are serviceable, but actress Laya Hayes elevates this film with a confidence and commitment more seasoned actors would envy. She presents an earnest and compelling protagonist, conveying mania, stoicism, and grief in equal measure, putting an unique spin on the traditional Dr. Frankenstein role. For a first time director, most of this film is excellently crafted though he is seemingly more comfortable filming exterior shots. There is excellent use of lighting and framing, but interior shots seem to be a bit cluttered, muddled and muted. Lab sets evoke classic hammer horror, arcing electricity, strange experiments beneath white sheets, but with a far more contemporary DYI flavor. The monster design is rather lackluster, but gore and violence is not to be denied. Honestly, the ‘monster’ was arguably the weakest part of this story, as the most horrific elements come from the violent surroundings and resignation to it. The film unfortunately suffers beyond the midpoint, where the script wants the viewer to be moved and understand relationships and motivations only peripherally developed. Many of the characters begin soapboxing, belaboring points and seemingly serving as author mouthpiece rather than distinct individuals. The film seems to simultaneously have a lot to say, introducing new elements even near the climax, but rushes through the second half and many of the beats don’t quite land. Despite these flaws, this is a fantastic debut by a promising director who hopefully has much more to say.
The Angry Black Girl and Her Monster (2023)