Joey Magidson
Trailers lie. Our first real look at Nightbitch suggested a very different film than we’ve actually got on our hands. Having just seen the movie here at the Toronto International Film Festival, the broad and on the nose comedy in the trailer has given way to a biting skewering of motherhood. It’s a relief, too, since what we were previewed online a few days ago seemed silly. This, on the other hand, is smart, detailing a satire of a certain kind of motherhood.
Nightbitch starts off really strong, before running out of energy towards the end. The biting wit and satirical elements somewhat fade away into an all too pat resolution that the film didn’t earn. It’s a shame, since what comes before is bold, brash, and has a lot of fun with the metaphor of a mother turning into a dog. Is it a certain kind of motherhood in the barrel here? Yes, of course. Still, the skewering works.
Our unnamed protagonist (Amy Adams) is struggling with motherhood. She loves her young son, but does miss her days as an artist. She’s paused her career to stay at home with the kid while her husband (Scoot McNairy) is constantly on work trips. There’s an imbalance in the relationship, one that she’s only recently come to understand. Oh, and she thinks she’s turning into a dog.
Hair is sprouting up in new areas, her teeth feel sharp, and a tail appears to be growing. The neighborhood dogs have taken a shine to her. It’s all very strange and initially off-putting to her, but as she begins to get into a groove with her life and her son, these changes become invigorating. The more canine-like she approaches life, the more she realizes where things have awry.
Amy Adams shows no vanity here and embraces grit and grime of dealing with a toddler, as well as the dog changes. She’s let off the leash and allowed to be funny, foul-mouthed, and an overall different presence than we’re used to. It’s impressive work and for fans of Adams, should stand out as one of her most distinctive roles. Scoot McNairy is fine, though the script deliberately doesn’t give him a ton to do. He’s passive by design, though a nice touch does still have him desiring his wife. He’s far from a villain. The supporting cast includes Zoë Chao, Jessica Harper, Mary Holland, and more but this is Adams’ show.
Marielle Heller doesn’t shy away from some horrific elements, as we get body horror, menstrual blood, and a few gross moments that will rile up a crowd. Adapting the book by Rachel Yoder, her script is often winking at the audience. Heller’s direction is lively and features some good cutting/edits that hammer her points home. Now, the third act is fairly weak and the ending isn’t the ideal note to go out on, but the good outweighs the bad. Heller hit a home run last time out with A Beautiful Day in the Neighborhood, so it’s not on that level, but it’s still quality cinema.
Nightbitch ultimately isn’t about quite as much as you might hope for, and it’s not telling you anything you didn’t already know, but when it’s fun, it’s very fun. See it for Marielle Heller continuing to do interesting things with her career, as well as for Amy Adams going all-in on a role unlike any she’s done. This is definitely a flick asking to be discussed, whether it’s here at TIFF or in wide release come December.
SCORE: ★★★
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