I thought I was being cheeky when I found myself thinking, early on, that the first impression this was making was as a public service announcement advising against pregnancy and child-rearing. The thing is, even with some wonderfully enticing, unnerving moments bringing pointed psychological horror to bear, as the length advances it increasingly comes across that this was a rather accurate impression after all. At bare minimum filmmaker Bess Wohl has in part latched onto the unacknowledged truth that some new mothers resent or even hate their children, countermanding the cultural expectation or demand that childbirth be upheld as "joyous," and a "miracle" - but then again, there are also straightforward horror-thriller vibes on hand, and major notes of post-partum depression, and ultimately also the amplification for genre thrills of the acute fears of new parents. But wait, those are five distinct ideas that 'Baby Ruby' is trying to encapsulate. There are also select moments that almost inspire laughter, coming across as fresh cut brass from a parallel horror-comedy. Just what was it that this wanted to be? All told, I can only firmly stand by that first impression.
I adore Noémie Merlant, and she's been terrific in anything of hers that I've watched; even if a picture falters in other regards, one can in the very least trust Merlant to give a fantastic performance, and quite anchor and elevate the whole just by being a part of it. This is no less true here; I admit bias since I'm already a fan, and she was the reason I sat to watch in the first place, but I think the actor is the chief consistent strength of these ninety minutes. The rest of the cast is great too, of course, and in all other ways this is splendidly well made in terms of stunts, effects, filming locations, art direction, hair, makeup, cinematography, editing, and so on. In what is apparently her directorial debut, I also think Wohl illustrates fine skills in orchestrating shots and scenes. Only: what tone is she trying to strike here? What exactly is it that she was driving at with her screenplay, and what should we as viewers be taking away from it? The one definitive guiding ethos of the narrative is "parenting is hard," and I appreciate the notion of twisting this into a horror flick. As the conception here tries to stir various odds and ends together, however, it comes off not as multifaceted but as unfocused, which again returns us to my takeaway - that the audience is being warned against considering procreation, or even adoption.
Maybe 'Baby Ruby' would be more meaningful if I had any slight inclination toward being a mother. Maybe I'm being overly critical, and cynical, and the mix of ingredients is just right in capturing for horror ends the apprehension of being a new parent. I think there are superb ideas in here. I just also think there are too many ideas, and the result becomes jumbled. If Wohl as writer had concentrated more discretely on just one or two thoughts - or maybe more to the point, dispensed with one or two thoughts - then I think the feature would be more strongly centered, and it would be more effective and impactful in turn. I honestly don't dislike this, and I want to hold it in higher esteem than I do; the sum total simply doesn't do much for me when fine acting and craftsmanship is weighed against a screenplay that feels kind of cluttered and subsequently diluted. I'm glad for those who get more out of 'Baby Ruby' than I do, and I look forward to seeing more from Wohl in the future. And hey, if nothing else, mission accomplished: I've been decisively convinced to never become a parent.
I adore Noémie Merlant, and she's been terrific in anything of hers that I've watched; even if a picture falters in other regards, one can in the very least trust Merlant to give a fantastic performance, and quite anchor and elevate the whole just by being a part of it. This is no less true here; I admit bias since I'm already a fan, and she was the reason I sat to watch in the first place, but I think the actor is the chief consistent strength of these ninety minutes. The rest of the cast is great too, of course, and in all other ways this is splendidly well made in terms of stunts, effects, filming locations, art direction, hair, makeup, cinematography, editing, and so on. In what is apparently her directorial debut, I also think Wohl illustrates fine skills in orchestrating shots and scenes. Only: what tone is she trying to strike here? What exactly is it that she was driving at with her screenplay, and what should we as viewers be taking away from it? The one definitive guiding ethos of the narrative is "parenting is hard," and I appreciate the notion of twisting this into a horror flick. As the conception here tries to stir various odds and ends together, however, it comes off not as multifaceted but as unfocused, which again returns us to my takeaway - that the audience is being warned against considering procreation, or even adoption.
Maybe 'Baby Ruby' would be more meaningful if I had any slight inclination toward being a mother. Maybe I'm being overly critical, and cynical, and the mix of ingredients is just right in capturing for horror ends the apprehension of being a new parent. I think there are superb ideas in here. I just also think there are too many ideas, and the result becomes jumbled. If Wohl as writer had concentrated more discretely on just one or two thoughts - or maybe more to the point, dispensed with one or two thoughts - then I think the feature would be more strongly centered, and it would be more effective and impactful in turn. I honestly don't dislike this, and I want to hold it in higher esteem than I do; the sum total simply doesn't do much for me when fine acting and craftsmanship is weighed against a screenplay that feels kind of cluttered and subsequently diluted. I'm glad for those who get more out of 'Baby Ruby' than I do, and I look forward to seeing more from Wohl in the future. And hey, if nothing else, mission accomplished: I've been decisively convinced to never become a parent.