This is the story of Andy (Charlie Tahan), a young man confined to a wheelchair and apparently getting weaker. It is also the story of his weak-willed father Richard (Michael Shannon), and Maryann (Natasha Calis), the new neighbour about Andy's age. Reeling from the loss of her parents (she lives with her grandparents), she makes a friend in Andy. This is also the story of Andy's horrendous mother Katherine (Samantha Morton), ostensibly over-protective of her dying son but far, far more than that.
Maryann is unresponsive and ungrateful to her grandparents (Leslie Lyles and Peter Fonda), so it is easy for them to believe it when Katherine suggests, with a smile, the girl may have behavioural problems. Her friendship with the lad is a heartfelt one, marred only by the mischief all children are guilty of. Certainly it is undeserving of Katherine's wrath. It's during such a mishap that Maryann, hiding in the basement, discovers a dark secret.
This increasingly disturbing story is expertly directed by John McNaughton, who handles the onslaught of revelations and horror in spellbinding fashion. Initial cruelty is revealed to mask a far more sombre situation. Not entirely unlike Kathy Bates from 'Misery (1990)', Morton gives Katherine a measured stillness, a dangerous sense of calm (often with her trademark tiny smile), so that when her anger does erupt, it is extraordinary. This is an engrossing, quite disturbing production, with terrific acting, especially from the juveniles.
Maryann is unresponsive and ungrateful to her grandparents (Leslie Lyles and Peter Fonda), so it is easy for them to believe it when Katherine suggests, with a smile, the girl may have behavioural problems. Her friendship with the lad is a heartfelt one, marred only by the mischief all children are guilty of. Certainly it is undeserving of Katherine's wrath. It's during such a mishap that Maryann, hiding in the basement, discovers a dark secret.
This increasingly disturbing story is expertly directed by John McNaughton, who handles the onslaught of revelations and horror in spellbinding fashion. Initial cruelty is revealed to mask a far more sombre situation. Not entirely unlike Kathy Bates from 'Misery (1990)', Morton gives Katherine a measured stillness, a dangerous sense of calm (often with her trademark tiny smile), so that when her anger does erupt, it is extraordinary. This is an engrossing, quite disturbing production, with terrific acting, especially from the juveniles.