Umma

It seems like the film's modus operandi was to make statements on childrearing. Specifically made for those parents who are overbearingly conservative about their children, so much so that they even refuse to listen to their kids' wishes, let alone lend an ear to what other people say.

As creators, they tried to put their message out in the open, an important one as well and to tell you the truth, I see nothing wrong in that. However, I also do believe that as a filmmaker you bear certain responsibilities, some obligations one of which is to stay loyal to the genre or the type of content you are making.

"Umma" was meant to be a Horror right? In any case that was the impression, I've got from the trailers! If you wanna have social commentary, and symbolic insinuations in your film that's fine but you got to stick to your promise first! At the end of the day, What do people expect from a Horror feature? All they want is to be terrified, to get the chills. So if that particular wish remains unattended, I don't see why should it be marketed as horror in the first place then!

UMMA explores the complexities of mothers and daughters, toxic relationships, the fear of abandonment, and inherited trauma. There are light spoilers ahead. Written and directed by Iris Shim, with Sam Raimi producing, the film follows Amanda (Sandra Oh), a Korean immigrant and single mother, who lives on a secluded farm with her daughter Chrissy "Chris" (Fivel Stewart). They are almost completely isolated from the outside world, keeping bees and selling honey. Amanda has homeschooled and sheltered Chris for most of her life in a futile attempt to keep her close. The two share an intense bond, that for Amanda stems from deep-rooted trauma.

As a child, Amanda was abused by her mother, locked in a room, and punished with electrified wires for running away or misbehaving. When Chrissy was an infant, fearful of becoming her mother and repeating abusive habits, Amanda shut off the electrical box under her house. Determined to prevent the atrocities she suffered from happening to Chris, she also concocts a lie about a sensitivity to electronics to ensure they can live an electricity-free life.

Amanda has suppressed her childhood trauma. Her uncle arrives from Korea, to deliver her Umma's (Korean for mother) ashes in the hopes that she will perform a Jesa ceremony to put her mother's soul to rest. Her uncle explains that Amanda's mother cried out for her as she died, triggering Amanda's fear and anxiety response to her trauma. She hears echoes of the abuse she suffered, her mother's voice whispering in her ear, visions of her mother's ghost, and waking nightmares. I believe that the ghost of her mother and the haunting aren't reality, but a psychological manifestation causing delirium and manic delusions.

Amanda is suffering from post-traumatic stress that is compounded by the discovery that Chris wants to leave for college. Amanda fears that she will be abandoned which only amplifies her desire to keep Chris close, even if it means fracturing their bond. She projects her fear onto their relationship, and the more she fights against the dissolution of their co-dependency, the more toxic their relationship becomes. This in turn mirrors Amanda's relationship with her mother, and causes her acute distress. It isn't difficult to relate to having a complicated and dysfunctional relationship with your mother. Chris needs to assert her independence, breaking free from the claustrophobic isolation of the farm, feeling othered, and her mother's somewhat suffocating love. Moving away to attend college is a logical way to escape her situation and an attempt to do so without hurting her mother's feelings.

UMMA doesn't fail to communicate any of its core themes, but they are muddied by the film's lack of tension, and poorly executed jump scares. There's a little too much going on with the way the haunting is represented, which often broke my ability to immerse myself in the narrative. Certain cliches and cultural stereotypes, including the appearance of a Kitsune or Gumiho were perplexing at best. In Korean mythology, the nine-tailed fox is an evil seducer of men, whereas, in Japanese folklore, it is an evil fox with paranormal abilities that can shapeshift into human form. The fox seems meant to symbolize Umma (MeeWha Alana Lee) but is a poor addition to the film's third act. Oh delivers a stunning performance as the tormented Amanda, her portrayal of anguish and fear is easily believed, while the other performances leave much to be desired.

While the supernatural horror film is a mediocre missed opportunity, its themes make it worth a single viewing. Audiences shouldn't expect a film that will instill terror, but one that uses its horror elements to explore putting what haunts you to rest.

Umma can be an interesting study of motherhood and generational trauma with a dash of a touch of folk horror. After a promising start, alas Iris K. Shim is unable to maintain the tension or the emotional aspect it's direly in need throughout the rest of the film. In the end, it presented a rather dull, if not bland, third act.

I hadn't even heard about the 2022 horror drama mystery "Umma" prior to sitting down to watch it. But I have to say that I found the movie's cover/poster to be interesting, and the synopsis was adequate. But of course with it being a horror movie that I hadn't already seen, of course I had to watch it.

Writer and director Iris K. Shim managed to put together an adequate enough storyline and script for "Umma". It wasn't a particularly outstanding or overly memorable movie experience though. Sure, it was watchable, and it was a nice mixture of Korean and Western cultures.

For a horror movie then I found "Umma" to be somewhat stale and slow paced. It wasn't particularly scary, and for a life-long horror fan, then "Umma" was essentially just a stroll in the park. "Umma" is focusing more of the drama aspects of the story than it does the horror.

Visually then you are not in for anything grand or impressive. But then again, "Umma" is not a movie that is particularly reliant on special effects and CGI. It had a little bit of special effects, of course, and it looked adequate enough. But you're not in for a spectacular show of special effects here.

Now, I am not really a fan of Sandra Oh, but she performed well enough in the movie. I wasn't familiar with actress Fivel Stewart, but she put on a great performance in the movie alongside the likes of Sandra Oh and Dermot Mulroney.

Sure, "Umma" was watchable and enjoyable enough for a single viewing. But that was essentially also it. This is not a movie that I will be returning to watch a second time, nor is it a movie that is at the top of movies that I would recommend you sit down to watch if you enjoy horror movies.

My rating of "Umma" lands on a somewhat generic five out of ten stars.

There is little intriguing about the worn out premise, of the script, but there are still a few things to enjoy in this psychological melodrama. Sandra Oh gives a sturdy performance as the phobic isolationist on her California farm, and Dylan McDermott is a reliable co star. The traditional hanboks are beautiful.

But then there are the plot holes. What clingy Korean mother goes back to her country when he daughter is in the United States? How did a woman get married and have a child while never being around eléctricity? How did she go to school, afford a farm and learn to produce honey without electricity? Wouldn't Child Protective Services show up for a kid that has never ridden in a car?

Suspend all logic and you might enjoy the rest of the movie.