Alice Lowe, star and co-writer of Sightseers, makes her directorial debut with a misfiring black comedy about a heavily pregnant woman guided by her unborn child.
Ruth (Lowe) is looking for a pet for her son. That’s what she tells a pet store owner, anyway. Just before slitting his throat, at the behest of her daughter; as yet unborn but already very demanding – and rather homicidal. And so it goes. Ruth targets men and women for sudden bloody murder, and nobody sees it coming, because who would suspect a woman in her final trimester to be capable of such violence. But as it becomes clear that Ruth is working her way through a very particular list of transgressors, she starts to have doubts about the wisdom of what she’s doing.
Prevenge is a strange beast indeed. You seem expected to give a standing ovation to Lowe for not only writing, but starring and directing in the semi-improvised romp, while she was herself in her final trimester. But if the resulting film isn’t any good, what does it matter what the circumstances of its production were? Teeth and Jennifer’s Body are the films that came to mind while watching this, and that’s not a compliment. At first it seems Ruth is killing men for making 1970s sitcom double entendres, or for not being interested in having children. Then she murders a woman uninterested in having children and prejudiced against women who are and waste her time faffing about with maternity leave. By the time you understand her motives it’s already too late.
Prevenge is a mean-spirited film, and perfunctorily so. Each victim feels like a vignette, as if Lowe had taken the modus operandi of Kind Hearts & Coronets, but dispensed with the delicious calculation and Alec Guinness’ delightful gallery of twits and bounders.