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Plot Outline: At a construction dig, the remains of the ‘legendary’ Oscar de la Valle are dug up along with an urn. It seems that this urn contains remnants of the titular Mother of Tears and de la Valle was tasked with delivering them to the Vatican. However, death and destruction followed him and eventually de la Valle himself perished during the journey (which one character glibly summarizes “He had a bad trip”) and the urn and he were buried together. Back to modern day, the urn is sent to the Museum of Ancient Art in Rome where Sarah (Asia Argento) and Giselle (Coralina Cataldi-Tassoni) both work. In a stupid “never seen Evil Dead nor even read about Pandora’s Box” move, Giselle ends up reawakening the Mother of Tears (and getting an intestinal necktie in the process) who seeks to continue her reign of terror in Rome. It’s now up to Argento and her latent white magic powers to save the city! |
| The Review |
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The film’s main problem is its writing. Not that it’s particularly bad but it’s very dull, forgettable and feels overwritten at times. OK, so it’s kind of bad and the actors really don’t do the script any favors. In a key scene in which Sarah is fleeing the police and her magical powers are first introduced, she is instructed by the disembodied voice of her mother (Asia’s real-life mother Daria Nicolodi) to “Concentrate, and they won’t see you”. After the police indeed don’t detect her, Sarah flees in the opposite direction but not without yelling “What!?!” to a customer staring at her puzzlingly. Way to listen to mom, Sarah. Speaking of Asia Argento’s acting (if we must), she really needs to figure out how to look scared, somewhat surprising since she’s the offspring of a horror master. Her facial expressions during scary scenes tend to fluctuate between dumb-founded and constipated. That’s probably overexaggerating but at the least Mother should be proof that nepotism is never a good thing.
| The Conclusion |
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