Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end

A scene from “Mother’s Instinct” showing Anne Hathaway and Jessica Chastain as mothers in the neighborhood. (Supplied)
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Updated 10 May 2024
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Film Review: ‘Mother’s Instinct,’ a psychological thriller that keeps you guessing until the end

  • Anne Hathaway plays "the perfect mother" in this 2024 psychological thriller in a remake of a French film, which itself was a novel adaptation

Anne Hathaway has played many roles over the course of her career: a surprise princess, an assistant to a fashion magazine editor, a recovering addict, Cat Woman. In “Mother’s Instinct,” she plays a mother — the perfect mother.

In this 2024 psychological thriller — a remake of a French film which itself was a novel adaptation — Hathaway is joined by Jessica Chastain. The two play best friends who are living the American dream.

They are next-door neighbors. Their husbands are the best of friends, as are their eight-year-old sons. They live in an affluent neighborhood in cookie-cutter 1960s’ suburban America. Everything seems idyllic.

The film begins with Celine’s (Hathaway) birthday. Alice (Chastain) and the women’s husbands throw a surprise backyard party. Celine receives a pearl necklace, a joint gift from their family and friends. It’s a wonderful celebration.

But the next day, there’s a tragic death.

One of the young boys falls from a balcony under suspicious circumstances. At the time, he was being supervised by the other mother.

The film forces us to ask: How can a mother live with herself after she entrusted her son’s life to her friend? Could anyone forgive themselves? Could they forgive their friend? 

By mid-film, there are still two mothers — but now one is childless. The one whose son has survived feels guilt. The one who lost her boy feels fury. Both feel grief.

As the story unfolds there are more deaths and we begin to wonder: Did one mother deliberately harm the other’s son? Who is innocent here? Who is evil? Was it an accident or a deliberate act? And who will die next? 

Events become more sinister. Nothing seems perfect anymore. Even the beautiful pearl necklace ends up broken on the floor, the tiny gems rolling around chaotically.

First-time director Benoit Delhomme does a good job of leading our eyes where he wants them to go. The cinematography is beautiful, while the styling and outfits are divine.

This film keeps you guessing until the end. And there is no happy ending; sometimes, the happy ending is that there is one at all.


REVIEW: ‘Survivor’ meets workplace horror in Sam Raimi’s deliciously funny ‘Send Help’

Updated 30 January 2026
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REVIEW: ‘Survivor’ meets workplace horror in Sam Raimi’s deliciously funny ‘Send Help’

DUBAI: Sam Raimi’s survival horror comedy “Send Help” finds the visionary director in fine form. Rachel McAdams and Dylan O’Brien star as beleaguered employee and passive-aggressive new boss respectively in a film that’s irreverent, camp and gruesomely gory — all trademarks of Raimi’s masterful touch.

The premise is simple. Two colleagues — Adams’ Linda Liddle has been passed over for her long-overdue promotion, while O’Brien’s tyrant nepo baby Bradley Preston has just been named CEO.  On a work trip, the two of them survive a devastating plane crash and wash up on a deserted island.

Few things are more terrifying — or more darkly comedic — than being helplessly dependent on someone you actively despise. Raimi milks this premise for every drop, staging set pieces that swing between slapstick and genuine tension, often within the same scene.

Between vomit gags and horrific physical violence, Raimi expertly shifts the scales of power between the two characters. There’s no time to relax or anticipate next moves.

McAdams is the film’s undeniable draw with her genre-defining turn as a disgruntled employee with an axe to grind. There’s a scene midway through when she chances on a waterfall and begins to find her confidence again. That shift from bumbling strategy planner to stunning island girl would have felt unearned in less professional hands.

O’Brien more than holds his own too, with a performance that’s reactive in the best way, shifting from lazy smugness to unsettling desperation as the power dynamic shifts.

Visually, “Send Help” is classic Raimi: exaggerated angles, kinetic camera work and smartly utilized gore.

What makes “Send Help” such a satisfying watch is its steadfast commitment to its own weirdness and a director confident enough to push every element but know exactly where to draw the line. Subjects including class, gender roles and power dynamics are handled with tightrope precision and a lightness of touch such that the film never feels preachy. It’s all deliciously unhinged and strikingly original. If you don’t have any weekend plans yet, this should make your list.