Lifetime original movies tend to be more enjoyable than their reputation portends. Some are sincere and well-made, some are gauche but still worthwhile, and others are pure B-movie romps. I'd hardly call myself a connoisseur, but I've watched quite a few at this point - and still 'Stalked by my mom' leaves me a little bewildered. It aims to be an earnest thriller, sure enough, reflected above all in the fact that the antagonist is played completely straight (a regrettable departure, perhaps, from those titles where the actor in that role is allowed to chew scenery and throw themselves about). But the zealousness of the cinematography early on runs counter to that sensibility. More curious still is that at almost exactly the one-third mark - only one-third! - we learn the entire truth about the scenario in one fell swoop. Yes, there's more plot to come, but less than one would hope after such a stark reveal, and it's hard to think of other examples of movies that have been so incredibly forward with their most profound substance.
Importantly, none of this is to say that this film isn't enjoyable. On the contrary, I still think it's a good bit of fun. Even with the relatively lesser plot of the last two-thirds, writer and director Doug Campbell does a swell job of sustaining tension, and a minor sense of thrills as the fullness of the antagonist's scheme and their seething determination are brought to bear. I'm at best unsure that the exact sequence of events as it presents is ideal, but the narrative is well considered and engaging nonetheless, and likewise for the scene writing. That suspense and active attention is lent a hand by Steve Gurevitch's excellent score, arguably darker and more harsh in its themes than is typical for TV movies. I appreciate the work of the crew behind the scenes: costume design, hair and makeup, effects, stunts, production design and art direction, and more. I'm hard-pressed to say all the cast members make a huge impression, but for the most part they're at least solid in bringing their parts to life. Most readily commendable are Mia Topalian, demonstrating youthful heart as Maddy; Mim Drew, wholly leaning into the characterization of troubled Vanessa - and above all, in my opinion, Danielle C. Ryan (Chuchran), gratifyingly bold and focused in her portrayal of Gina. I've seen Ryan in no few features at this point, and as far as I'm concerned she demonstrates strong, versatile skill again and again; 'Stalked by my mother' is no exception. I admit bias, as I like her anyway, but I don't think it's unfair to say Ryan's acting may be the chief highlight of this.
I'm less immediately able to give like praise to Jennifer Taylor, starring as Claire. There's an imbalanced duality of both nervousness and severity in her disposition that's grating, as though Taylor couldn't get a thorough beat on her character, and this is to say nothing of something about the precise pitch and timbre of her voice and delivery that just rubs me the wrong way. It's the sort of performance that's not abjectly bad but just indescribably off, and weirdly irritating for the fact of it. In fairness, however, this might not be Taylor's fault at all, because as much as the picture's early revelations are off-putting, worse still is how Campbell writes the antagonist and the protagonist. For, dear viewer, while our antagonist is in the wrong, they are nonetheless more sympathetic than our protagonist, of whom we are emphatically given much to actively dislike at multiple points from the very start to the very, very end, and integral to the antagonist's motivations. Is Taylor acting poorly, or superbly in a part that is at war with itself for our favor or disfavor?
Honestly, I think this is more well done than not. For the most part 'Stalked by my mother' is just fine, engrossing and entertaining, and a fair credit to the fare that Lifetime puts out. But Campbell's writing falters in two very glaring, very specific ways, giving us too much information too early, and a protagonist that we want to fail even though by all rights we can hardly cheer on the antagonist, either. For all that is done well here, including the broad strokes of the writing and the acting (Ryan's above all), this is an easy recommendation; for its faults, I'm altogether flummoxed. Whether you're specifically a fan of this brand of TV movie or not, there are definitely worst selections you could watch - yet also, sadly, definitely better ones, too. I think it's alright if you come across it, but don't go out of your way, and temper your expectations in preparation for a couple whoppers that are just plain dubious.
