No Comfort in Ma

Posted on by vfdpixie

Formulaic teen slasher films have been around for decades. Popular kids who fulfill all the tropes chased by an immortal antagonist, one who is relentless in its pursuit and thorough in its decimation of all things young and fancy free. But this time, the boogeyman is a black woman who harbors a deep-seated anger for those teens, and you’ll find her in Tate Taylor’s Ma.

Maggie (Silver) meets Ma (Spencer)


Maggie (Diana Silver) has moved from San Diego to her mom Erica’s (Juliette Lewis) hometown so they can start over after her mother’s divorce. Willowy and pretty, Maggie soon picks up with a bunch of popular kids who like to hang out and drink. Looking to score some booze from a willing adult, the kids finally convince an unassuming veterinarian technician Sue Ann (Octavia Spencer) walking one of her charges to buy their partying supplies. She’s concerned they’ll drink and drive, so she offers her basement for them to party on the conditions that they don’t swear, leave sober and most of all, don’t venture upstairs.
The kids, thinking she’s a little odd but ok for an old broad, decide to take her up on her offer and nickname her “Ma”. Ma’s basement soon becomes a booze can for the local teens, and she’s the life of the party until things get more than a little weird, intense and dangerous.


I’m going to try and stay spoiler-free, but Ma made me sad for many reasons. Through flashbacks, we learn that Sue Ann wasn’t a popular girl in high school and neither was I. She constantly felt like she was the butt of the joke, and I always felt that way too. Her character allowed me to feel empathy for her, but I’m also sad that most of the production team were white. The writer, Scotty Landes, hit a lot of notes well, but Sue Ann’s character ended up looking really pathetic. Could he possibly know what it was like growing up unpopular, black and female? Probably not. Perhaps he too was an outsider for whatever reason, but the Carrie-like narrative that was done well by Stephen King for instance, didn’t translate here. And trying to turn the mammy/black care-giver stereotype on its head didn’t work either. It was messy, aimless and too delicate a subject for this kind of treatment.

I’m also sad that Ma didn’t ramp up the weird. Landes is behind several episodes of Comedy Central’s Workaholics and Adam Devine’s House Party-two extremely bro-ish comedy series, and has had a brief career in stand-up comedy. He and Taylor could have pushed it to a slightly more absurd feel, like the 1973 film, The Baby. That film was disturbing, absurd and everything you need to make you squirm uncomfortably, but this isn’t the 70s, and sadly, we only find those films kitschy in hindsight. While the comedy beats were decent in Ma, I wished Landes and Tate had drawn more from the absurdity of the situation instead of straight horror with a few laughs.

Spencer’s performance was really, really good. I was a fan of hers after I saw her in Joon-ho Bong’s Snowpiercer, and when you look at her IMDb page, there’s so much variety there, especially within genre film, that you know she’s a versatile performer. Spencer and Taylor are reportedly best friends, so there’s a mutual trust for her to give her best performance. Her emotional transitions were seamless; really putting Sue Ann’s unhinged persona center stage. I also loved Allison Janney as Sue Ann’s disgruntled veterinarian boss, in fact I feel there was a spark between Spencer and Janney that was wasted. That venom could have been central to the film, because really, who needs to see more teens in jeopardy, but Janney was only in a couple of scenes and I almost forgot she was in it.

Ma creeping on the teens.

I wonder what a black female director and writer would have done with Sue Ann’s character. It’s a shame Spencer shows her range in a starring role with complex character who doesn’t quite get the attention she deserves. If you’re set on seeing Ma, go for Spencer’s menacing performance and what I hope is her gateway in more starring roles in more genre films, but this time with a black female horror director.

The Tokoloshe: Mythology and Modern Trauma

Posted on by vfdpixie

With the South African film industry making new strides to create opportunities for local and foreign filmmakers, director Jerome Pikwane tackles the horror genre with his first feature film The Tokoloshe.

Busi (Petronella Tsuma) is a desperate young woman who finds work at a derelict hospital as a night-shift cleaner. She must deal with a predatory manager Mr. Ruatomin (Dawid Minaar), jaded coworkers and young abandoned patients in order to make money to bring her sister from their troubled rural home to Johannesburg. One night, Busi comes across Gracie (Kwande Nkosi), a little girl who is tormented by a nasty entity called The Tokoloshe, known to prey on children. Busi takes pity on Gracie, and even though she deals with the trauma of her own family issues and abuse, she sneaks Gracie out to live with her, unwittingly bringing the angry Tokoloshe into her home. Busi must protect Gracie, battle this entity and her own troubles to survive life’s harsh realties.

Busi (Petronella Tsuma) dreads another night at work.

The most popular definition of the Tokoloshe is a hairy, lustful, elf-like creature from Zulu folklore who wrecks havoc on people, especially women and children, causing mischief or death. Pikwane successfully melds this mythological figure with the difficult subject matter of sexual abuse and rape. In several interviews, Pikwane said he wanted to represent misogyny and the patriarchy through his film and the figure of the Tokoloshe was key in representing the patriarchy and all the oppressive men in Busi’s life. His handling of the abuse Busi and Gracie suffered was thoughtfully done with a few moments of brutality along with flashbacks and eerie atmosphere, surrounding Busi with shadowy settings to represent the hidden corners of her psyche.

I loved that there were two black female leads in a modern horror dealing with a real issue in South African society (and beyond). Tsuma and Nkosi had wonderful chemistry as lost souls looking for redemption and safety, and for a low-budget film, Pikwane incorporated an artistic and slightly gothic feel, comparable to The Babadook and Under the Shadow that also dealt with trauma and mental distress in similar fashions. The use of effects for some decent jump scares was also well done, with a few subtle CGI moments building up to big the creature reveal.

The Tokoloshe was screened at the 7th Toronto Black Film Festival (proudly co-presented by the Blood in the Snow Canadian Film Festival), with one of the films producers, Cati Weinek in attendance. She talked about the rampant sexual abuse in South Africa and the need for Pikwane to address this through his film. She also mentioned the call for change with stereotypical roles for blacks in film, and she had great hopes for financing and creating more horror and films outside of the typical rom-com fare popular with South African audiences.

I think a lot of movie-goers will resonate with the characters and themes of The Tokoloshe. After having attended a talk given by Tarana Burke, founder of the #MeToo movement and advocate for sexual abuse survivors, I have to commend Jerome Pikwane and his co-writer Richard Kunzman for being real allies in the struggle for accountability. They’ve not only produced an encouraging debut horror feature with an exciting new director, but an important tool for creating dialogue about trauma.

Horror Noire: History Lesson, Validation and Hope for Black Horror

Posted on by vfdpixie

I am beside myself with relief, joy and optimism because my life as a black woman horror fan has been validated. When I watched horror films as a young person, I cringed when a black character appeared, certain they were going to be ridiculed, portrayed as a caricature, or something bad was going to happen to them. This was an internalized knowledge I didn’t have to think about, a feeling I had catalogued in my emotional bank because of my own experiences of trying not to be noticed lest someone started to ridicule or bully me, to the point where sometimes I was relieved there weren’t any black characters in a horror film so I could watch without the added anxiety as a person of colour. The origins of this programmed terror of misrepresentation has been vindicated and explained in the documentary, Horror Noire: A History of Black Horror based on Robin R. Means Coleman’s extensive tome on blacks in American horror films.

From the 1915 film The Birth of a Nation to the current day Get Out, horror films featuring black characters and actors have an historical significance in how we are seen in society at large. Means Coleman puts all of this in a book entitled Horror Noire: Blacks in American Horror Films from the 1890s to Present. It’s an excellent read outlining decades of misrepresentation of blacks and different tropes (like the magical negro and the myth of blacks dying first in horror), up to the shift in the 90s with urban horror and how we reclaim our stories and representation. Directed by Xavier Burgin, Horror Noire encapsulates the subject matter presented by three film scholars and producers of the documentary: the author herself, Means Coleman, author and teacher Tananarive Due, and Ashlee Blackwell, writer and founder of graveyardshiftsisters.com. Actors like Tony Todd (Candyman), Ken Foree (Dawn of the Dead), Keith David (The Thing), Kelly Jo Minter (The People Under the Stairs); and directors like Jordan Peele (Get Out), Rusty Cundieff (Tales from the Hood 1 & 2) and Ernest K. Dickerson (Tales from the Crypt: Demon Knight) explore the impact of their films and other classic horrors featuring blacks had, like Night of the Living Dead and Ganja and Hess, on themselves and American culture.

The inclusion of actors listed above as well as Miguel A. Núñez Jr. (The Return of the Living Dead) and Rachel True (The Craft) bring an honest behind-the-scenes account of how they viewed participating in the horror genre and what it meant to them as individuals. I especially loved True’s candid nature, and her appearance in the documentary is important given the recent controversy of her history of exclusion at conventions. If you think there’s a lot of information to take in, you’re right, but the pacing of the documentary is fantastic. The viewer can absorb information covered in the seven chapters of the book without feeling like you’ve missed something, and the discussions, commentary and visuals all complement each other so everything is easily digested.

For this Black History and Women in Horror Month, the fact that there are three black female scholars guiding the documentary is so empowering. They know what it truly means to be “the other” as they move through spaces that may not readily accept them which is key in their examination of blacks in horror. As black women, we are an unconsidered entity; our intelligence is often challenged, and worse yet, we aren’t normally thought of as the go-to for horror. This time, black women are center stage here, scholars who have made it a priority to explore the history of what blackness is in horror films. What’s also important is the expansion of the discussion to include films up to the here and now, and the hopefulness as we see young female directors Meosha Bean and Monica Suriyage talk about persevering and collaborating to make films that represent themselves properly.

Horror Noire (as both a documentary and book) needs to be added to every film studies syllabus. It’s a vital testament to how a society driven by white supremacy can destroy a people with perception and how we can take it back by reclaiming our representation. If that doesn’t work, as Núñez Jr. says, “Black is the new green”, and money talks, so here’s to more black horror making bank and history.

Watch it now on Shudder.com, and if you haven’t seen some of the films referenced in the documentary, they’re also available on Shudder (hooray!). There’s also a code for a 30-day free trial for the month of February (wihmx), so get your popcorn, tone those eye muscles and get to watching!

*Apologies-I’ve taken the troll bait. Horror Noire is also important addition to the education of those who insist on exclusionary tactics; masking their discomfort of including people of colour by saying horror is getting too political. Horror is and always has been political, and whether these folks want to learn from a discussion that addresses the mistakes of blindly accepting misrepresentation is up to them. I encourage viewers to challenge these archaic views in the review section of  Horror Noire on Shudder to set the record straight. And for those who are whining about other people of colour not being included, here are some bullet points:

  • This is about blacks in horror, based on a book about blacks in horror films and black history.
  • There is an insidious and defensive behaviour of denial exhibited by some white (and a handful of non-white) people who tries to diminish anything involving blacks and black people calling out misrepresentation, and it needs to stop, like right now because it’s boring, stale, and pointless.
  • If you want documentaries on misrepresentation of other people of colour in film, they are out there. I shouldn’t have to spell it out for these folks, because there is a thing called Google, but try The Bronze Screen and The Slanted Screen for starters.

Escape Room: The Right Kind of Franchise Fodder

Posted on by vfdpixie

From derelict buildings to posh Victorian houses, escape rooms are all the rage, and they have been for several years now. Paying for someone to lock you in a room with a group of people so you can figure out an escape will help build spirit you never thought you had plus you’ll get a chance to flex your problem-solving skills. But what if it’s not all fun and games, and the reality of the timer running out is an actual death? This situation is posed with Escape Room, and it’s a nail-biting ride.

Zooey (Taylor Russell) is a shy, college student who is brilliant and a loner. She’s stuck in her dorm for Thanksgiving while everyone leaves for the break. She receives a mysterious puzzle box which she quickly figures out how to open, only to find an invitation to compete in an escape room adventure for $10,000. Zooey isn’t the only one who gets a box. Jason (Jay Ellis) a go-getting financial whiz, Ben (Logan Miller) a down on his luck grocery clerk, Amanda (Deborah Ann Woll) an ex-soldier, Danny (Nik Dodani) the uber-nerd, and Mike (Tyler Labine) a jovial blue-collar fella all figure out the cubed puzzle and end up in an industrial building where the game begins in the waiting room. They soon learn the mysterious makers of the escape room mean business when they’re almost roasted alive in the first challenge. So begins their life or death race to the finish as they work their way room to room, revealing more about each person and the invisible burdens they struggle with.

The players in a bad spot. (Sony Pictures)

The film starts with a bang as Ben tries to figure out how to get out of a library before he’s crushed by a moving wall. It’s a frantic few minutes, putting you on edge immediately and never loses the intensity throughout. Waiting to see what clues characters found and how they related to each of their pasts was fantastic and created a puzzle within a puzzle. And speaking of puzzles, the cast fit in perfectly with great performances. Canadian actor Taylor Russell (seen on numerous shows like Falling Skies and Netflix’s Lost in Space) is riveting as the shy loner Zooey who clears all the puzzle hurdles with ease and is a classic final girl. Other stand out performances came from Ellis (Insecure) and Woll (best known for True Blood), and we got the perfect amount of comedic relief from Labine, the veteran Canadian actor of Tucker and Dale vs Evil fame as well as a huge list of other notable roles. Kudos to director Adam Robitel for casting people of colour in a lead role, like, three, as well as an Asian detective played by Kenneth Fok. See? Not so hard, and the film is doing well at the box office and getting decent reviews with what seems like a teaser ending for a sequel if not a franchise (yes, please!). I also have to mention the production designer Edward Thomas who has worked on Doctor Who, The Sarah Jane Adventures and Torchwood. The sets were just brilliant and writers Bragi F. Shut and Maria Melnik came up with some great brainteasers to keep the audience guessing.

As a side note, my biggest joy received from this movie was the fact that I saw it with two young black girls: my great-niece and her cousin who nodded vigorously when I asked if they were pleased that the main character was a black girl. This is a moment that touched my heart because I know if I was their age, this would speak to me on a subconscious level. A black girl protagonist would have let me know without words that I could excel at math, I could be the smartest one in the room and not to feel ashamed about it. Actions speak louder than words and this time I got to see my sweet tween niece see someone like her winning on the big screen.

If you haven’t seen Escape Room yet, don’t miss out on it, not only because it’s a perfect Saturday night at the movies, but also for some fun, sustained suspense, people of colour in solid roles and a black final girl you can get behind.