🎬 Director Brad Anderson adds another film that should be better to his resume (see also: The Machinist, Session 9), this time dragging along Michelle Monaghan as Jess, a mother and nurse going through a bitter divorce. | ✍️ David Riedel
Just kidding—sort of. Director Brad Anderson adds another film that should be better to his resume , this time dragging along Michelle Monaghan as Jess, a mother and nurse going through a bitter divorce.Jess, her children Tyler and Owen , along with family dog Pippin, move into Jess’s childhood home, a creepy place that needs a coat of paint and an exorcism.
The setup is decent. Pippin chases an unseen evil into the woods. Upon returning home, he attacks Owen, biting at his jugular and seriously wounding him until Jess dispatches the dog with several blows to the head. As Owen recovers at the hospital where Jess conveniently works, he and Jess discover he can’t handle food; Owen has a new and insatiable thirst for blood.
As luck, coincidence, and contrivance would have it, Jess the RN has access to the hospital’s blood bags. She’s also friendly with a terminally ill cancer patient no one would miss.’s bad double-entendre marketing campaign gives it away: “How far would you go to save your child?” By the time Owen goes full Vlad, Monaghan’s natural charisma and a bottle of Geritol can’t savefrom its own anemic silliness, right down to the absurd explanation for Owen’s condition.
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