Kindred, starring Tamara Lawrence is a mix of horror, suspense and a touch of mystical and bad omens. Firstly, opened with a very stark racial difference though it is noticeably absent in the course of the movie but creatively designed to be noticed by the viewer in the way. Kindred though is not about race but about a haunting family determined to take control over the outcome of a pregnancy, no matter the outcome, regardless of the mother.
Directed by Joe Marcantonio, the movie kicks off with what we could term ‘tough love’ because Charlotte (Tamara Lawrence) from a different race and Ben (Edward Balcroft). Undecided is the family’s stance on the relationship, which is solely held by an iron-like mother (Fiona Shaw) at the start of the movie which is portrayed as a meek and gentle budding romance between Ben and Charlotte. Then the taste of dislike in Ben’s family clearly on the mother’s demeanor and clearly tried to be suppressed by an unnerving Thomas (Jack Lowden), Ben’s younger brother. With plans to leave, or rather flee the country for Australia which was adamantly declined by the mother, plans get shattered when Ben is involved in an accident which leaves him eventually, for dead. Through this stark and unexpected occurrence a rather unseen side in the whole chapter begins to morph placing the mother at the fronts this begins when she attacks Charlotte at the hospital where Ben is pronounced dead sending a message that she is the cause of the misfortune with this in lights of their about to go to a far country, driving a wedge in her family. Though the family has a shadow of nicety in generously offering to take care of Charlotte and her baby, Ben’s baby for the while she is pregnant. It then begins to reveal it self in chilling psychological glimpses that the family is not as nice as she thought initially.
We are not quick to judge the rather quiet nature of the family in their rather creepy and far way manor in the country side. Patiently a grave sense of wrong begins to unfurl in the whole thing that something is not right somewhere, possibly Charlotte also as she gets ‘visions’ of what turns up to be medically induced dreams and the quiet revealing of Thomas’s stance during a scenario where he has to leave Charlotte with a stranger that could possibly get her help as he reluctantly takes his leave. Then the chilling reality dawns like cold ice that this is a kidnapping in motion.
In the course of the pregnancy, like the lifeline the whole thin thread hangs on, everything of importance to Charlotte is now under supervision partly faux due to the worries that her mother was known to have a mental issue. No one can tell the direction of the suspense at it settles like cold dew, with mystical representations and strange dreams across the movie. Merged with the chilling persona of Thomas who seemingly passed of as a pawn in the whole game, is a scary and deadly mastermind evil plotter of the sorts when Charlotte at a desperate moment in her confinement tries to reach out to him, this leaves her trapped in between a game of fears, not knowing the greater of the two monsters, mother and son. Almost looked off, but dreadfully predicted was its rather predestined ending painting a perfect horror story. A befitting ending from the story in lights of the oppressed and struggling as intended to be climaxed from the whole ride. Kindred is noticeably not to be shelved as a horror movie but it has an acrid after taste. One you most definitely cannot shake off.