Mara (2018)

A female psychologist who assists the police in a series of murders comes across an ancient myth of a demon who causes sleep paralysis.

Hollywood… more often than not, it can be seen as a meat grinder. You put the meat into the funnel, and thin stands of that meat come out. There is no chance you put the meat in, and something else comes out. Mara is that expected outcome. You know what is going to happen, when it is going to happen, and there are no twists. Whatever attempt to surprise the viewer is doomed. Because both character and story development are based on clichés, and so are editing and sound – hence, the unfortunate jump scares. Don’t blame these departments, though. It’s always the narrative that dictates the techniques.

I know some reviewers love annihilating films like Mara. I don’t. So, in a respectful manner, I will share my humble opinion with you in one sentence: Mara is disjointed in every possible aspect. Olga Kurylenko has come a long way, and her acting skills are remarkable, so I look forward to seeing her in something like Andre Basin, considered cinema. Craig Conway delivers a powerful performance but doesn’t have much to work with. Extra credits go to James Edward Barker and his impressive original score that finds no place in any of the epidermic attempts to scare or sensitise.

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