User reviews

While it's not something that worked much for me overall, I do think Nightbitch is going to be a few peoples favourite movie of the year and I'm not so in love with my own opinions that I can't see why. Because despite it's more outlandish elements it really does feel like an authentic portrayal of motherhood and one that I did find eye opening in some ways. Amy Adams is probably the best she's be in nearly a decade in this movie in a performance that feels pretty fearless and it's a character I was on the side of from the very first scene in large part because of her work. What sinks the movie for me though is the techniques Marielle Heller uses to tell this story. The more outlandish elements didn't really work for me and it just kept feeling like it was taking away from the realistic drama on display. It's all very unsubtle with how it explores its themes with a lot of narration and fourth wall breaks that I found to be really grating. The whole idea of this character believing she's turning into a dog did take the film in some interesting directions but it didn't really feel like it was wrapped up in any meaningful way so it just ended up feeling like a strange choice that didn't amount to much for me. I also really didn't care for the husband character played by Scott McNairy but for all the wrong reasons. His character just feels like he's lacking majorly in depth and if his character had been fleshed out more the drama could've been more powerful. Nightbitch is admirably ambitious in how it takes a unique approach to its subject matter but it ultimately didn't come together for me. Amy Adams is great as always and I'm glad she's still capable of putting in a performance of this calibre but I'm still finding myself frustrated with the actual projects she chooses.

I enjoyed this movie. I went in blind so I had no idea what to expect. I kept thinking what the heck am I watching? This movie is so bizarre. But honestly it's just a way to get the message across. Moms lose themselves. And this story is raw and real to what most of us feel. We love our kids more than anything in the entire world. We don't regret them. But we do at times miss the person that we lost when we entered motherhood. I think a lot of the negative reviews that this movie gets are either from men or women who haven't experienced motherhood. You don't know until you're there. And I appreciated the honesty of this movie. We as mothers are trying to live up to the stereotypes of what a good mom is. Not only do we struggle with the changes it brings but also trying to live up to the people who seem like they have it all figured out. We don't get to see that we all struggle. We all pretend like everything is great. Because if we don't then we are weak and we are bad moms. I liked watching a story that shows that maybe we're all struggling to figure it out.

This film made me feel a lot of feels and I'm not even a mother, so I can't imagine how much it's going to mean to people who are.

Obviously Amy Adams is a force, and in addition the directing and cinematography is really beautiful. And pleasantly surprised by a few metaphysical and witchy vibes.

Interesting trend recently with this movie, and Your Monster, where a strange thing is happening as an allegory for female rage and repressed feelings. It's both empowering, but also kind of depressing. I hope ultimately it instills in more women to NEVER DIM YOURSELF, TELL PEOPLE WHO DESERVE IT TO F OFF, and "Insist on your joy" ♥

What happened to my wife?" (Father). "She died in childbirth!" (Mother)

Nightbitch is the Swiss Army knife of motherhood psychoanalysis. The joys and sorrows of leaving a profession as an artist to raise a child are in full display as Mother (Amy Adams) eventually sees the downside of motherhood while clueless Father (Scoot McNairy) goes off to work several days in a row most times.

The reality of a job that pays nothing and leaves her sleepless while former colleagues prosper happily merges into Mother's fantasy (?) of becoming a dog. The feral aspect of this motif is handled deftly by writer-director Marielle Heller so that the film is much less horror than the title suggests. Any woman in middle-age, even with an aging parent to tend rather than a child, can identify with the contradictory emotions emerging regularly.

Nightbitch shows that even the all-consuming love of the caregiver is not enough to stem the resentment that can eat away at her happiness. When Mother scrapes the floor for food like a hungry dog, the point is well taken about the primitive nature of survival.

Mostly the loss of one's calling, in Mother's case as an artist, seems the greatest cut of all. But, then, our society has not yet fully embraced the idea of retaining or returning to one's gift during or after child-rearing. At one point, Father admits to never having thought about the necessity of tending to Mother's talent beyond nurturing.

To give dad his due, he was blindsided by her wish to leave her profession, never having been trained to explore motivations more fully. Nightbitch skirts analysis of Father's role probably because it would compromise the attention to the film's core subject-Motherhood. While the film is part deconstruction of the role and bodily horror (try to watch her discover a tale protruding from her backside!), it surprisingly exposes the many sides of parenthood through common sense, little horror, and some magic realism.

Amy Adams should be Oscar-nominated for the 9th time. She's that good and may win this time. As for the audience, the trip home should be full of discourse about the complicated jobs of parents and, by extension, caregivers. It can be a "bitch" and the grandest calling of all.

In 2021, Rachel Yoder's debut novel 'Nightbitch' was released, to critical acclaim. Partly-autobiographical, the surreal story was described by The Guardian's Lara Feigel as being "an important contribution to the engagement with motherhood that rightly dominates contemporary feminism." Slate's Rebecca Onion, while acknowledging some of the story's faults, noted that "as a meditation on the radical evolution parenthood demands, it's perfect."

With such overwhelming praise, it was only natural that a film adaptation should follow. Written and directed by Marielle Heller, 'Nightbitch' follows a mother (known only as Mother) whose life has changed drastically after the birth of her son (known as Son). She used to be an artist of some renown, but now is a stay-at-home-mum. Her husband (guess what he's known as) travels frequently for work, leaving her to navigate the overwhelming demands of parenthood alone. As the pressures of her new life mount, something strange occurs: Mother believes she is turning into a dog.

On paper, it sounds like a darkly comic, Kafkaesque exploration of identity, motherhood and the primal instincts that lie beneath our civilized facades. However, Heller never allows the story run wild, holding back the leash, as it were. Although there are some comedic, inspired lines of dialogue, and perceptive moments- particularly during Mother's interactions with her group of fellow mothers- there is also quite a bit of pretension, from stilted, preachy monologues to the central character's names- or lack of them.

Additionally, the film doesn't add significantly to the discourse, leaving one out in the cold in the kennel. Heller's examination of female rage and the primal instincts of motherhood, while central to the narrative, don't feel profound or original. The film treads familiar ground without offering new insights or perspectives. Instead of delving deeper into the complexities of its themes, it skims the surface. The story's potential brilliance is diluted by Heller's reluctance to fully embrace the wildness of its premise.

In contrast, Coralie Fargeat's 'The Substance' demonstrated how feminist body horror can be both profound and innovative. While different in style and narrative approach, 'The Substance' similarly explores themes of female identity and bodily transformation, but does so with a raw intensity and originality that 'Nightbitch' sorely lacks. Fargeat's film doesn't shy away from pushing boundaries, providing a visceral, wildly entertaining and thought-provoking experience.

Heller's is simply not in the same league. However, while 'Nightbitch' may fall short of its potential, it is not without merit. It provides a platform for discussing the often-taboo topics of maternal frustration and identity loss, even if it doesn't capitalize on these themes. The film's attempt to balance dark humour with existential dread is ambitious, and although it doesn't really succeed, it does contain moments of genuine insight and resonance.

Moreover, from a technical standpoint, there are elements deserving of praise. Brandon Trost's cinematography is striking, while the score is generally stirring. In addition, Anne McCabe's editing is terrific at generating momentum, while emphasising the banality of Mother's day-to-day life. In addition, the make-up and effects- though not used to the same extent (or to the same effect) as in 'The Substance'- are commendable; if underused.

Furthermore, Amy Adams delivers a powerful lead performance. A consistently accomplished actress, she brings a nuanced blend of vulnerability and ferocity to the role of Mother. Her ability to convey the emotional turmoil of the character is a highlight, making even the film's weaker moments more engaging and impactful. The whole film, in fact, only works because of her; she carries it completely.

Scoot McNairy does typically fine work as Husband, elevating the underwritten part and making him compelling, despite his faults, while twin brothers Emmett and Arleigh Snowden, in their first credited roles as Son, cannot be faulted. Moreover, the great Jessica Harper is criminally underused as a mysterious librarian, stealing the too-few scenes she's in.

In conclusion, Marielle Heller's 'Nightbitch' is a bit of a shaggy-dog story. While it doesn't realize the wild potential of its source material, it contains brief moments of profundity and emotional resonance, and features a terrific central performance from Amy Adams. Boasting fine cinematography, as well as a stirring score, and cannily edited by Anne McCabe, it is worth a watch for fans of Rachel Yoder's novel, even if it will leave one howling for more.

Adams is incredible in this role. It's different and some might find the metaphors frustrating. But the film has a strong point of view which mom's identify. There are some comedic moments but the film is not a comedy. As the story unfolds, some viewers may want to bail. But stick with it. It surprises and moves. But I'm a huge Adams fan so the powerful, meaningful and at times harrowing performance alone is worth the watch. The director takes chances and she should be recognized for taking on such a sensitive subject. It's rare look at the sacrifices of motherhood told in a unique, creative way with outstanding performances.

As a lifelong single male I'm out of my comfort zone to discuss this one! It's a rather fascinating, insightful (I think) and somewhat ruthless and startling look at early motherhood. However, while I'm sure some do, I don't get the canine gimmick, for lack of a better word. Not only do I not get it, I think it undermines the really fine parts of this which includes the writing for this loving, harsh and humorous look at a woman on the brink not really understanding all that would change in her world and her being after giving birth to her first child. However, gotta blame the the same writing team of Marielle Heller & Rachel Yoder for the canine analogy. While I don't think it her finest hour, Amy Adams is her usual excellent self in a tricky role that she conquers and it was nice to see Jessica Harper for the first time in a while, though the talented Scoot McNairy is wasted in an underwritten role. For me, much of this was a learning experience.

I wanted to like it. I like Amy Adams. This movie was just awful though. The level of self absorption is astounding. All around. The doofus husband, the unnamed whiny kid. There are no real problems this woman has other than needing a divorce. I kept waiting for a real issue to happen. A job loss, a foreclosure, a struggle to pay bills, a disease.... things that are real. Other than needing to divorce her idiot husband, none of that happened. Instead, I got animal murder and introspective circle jerking over issues that are self created nonsense. About halfway through, I was hoping it would turn a corner and become a gonzo werewolf movie, but alas, there was none of that. Just dumb writing and a bad movie. It feels like a rich twilight fan had a kid and thought they'd write a movie. Don't waste your time.

This odd little movie stars Amy Adams (excellent performance) as a mother who, in her inner thoughts, is trapped in a prison of her own design - being a mom.

Instead of motherhood as a joy, it portrays motherhood as a manic-depressive roller coaster with yes, moments of joy, but also of terror and emotional brutality that make you feel you're losing yourself and turning into ... something.

In her isolation, the mother might consider herself a freak, but the movie suggests that moms are perhaps all going through stuff, no matter how they seem on the surface. Some of that is pretty fascinating.

This is the fifth feature-length film Marielle Heller has directed, and they are all remarkably different from one another. She has incredible range. At the same time, while I really liked Nightbitch, I liked it less than all her other features. It just somehow missed being great. But it's still well worth watching.

Trying to write a spoilerless review describing how amazing Amy Adams is in this film is hard. This a tour de force, a fearless, bare it all, not scared of being "ugly" breaththaking, chilling, essential, jaw on the floor, horror and respect inducing performance. I would recommend this film as a prescription for those who try to oversweeten motherhood, taking away the raw and sacred power it gives to women. It is a very healing film, and a very disturbing experience at the same time. It puts words and images on feelings that are almost impossible to convey. The only thing I regretted was the voice over, but I think it could help some viewers too.

If you didn't raise your children on your own full time, you won't understand. It has some overly dark comedy, but other than that it's one of the first movies that truly encompasses how it feels to raise a child on your own. I personally felt like clapping multiple times. I raised my daughter on my own since she was 1yr old and ran a home daycare, so I could relate all too well. The animal aspects were very over dramatic and at times gory, but the overall message was on point. I do feel that parents that aren't hands on with raising their children should watch, just so they know what us full time mothers really go through.

Nightbitch, starring Amy Adams, is a film that promises to explore the struggles of motherhood and identity but ultimately devolves into an exhausting, one-sided tale of self-pity and self-absorption. While the premise-a stay-at-home mother wrestling with her role and sense of self-has the potential for depth and resonance, the film is bogged down by its insistence on framing everything through the singular, self-centered perspective of Adams' character.

From start to finish, the movie feels like an endless monologue of "me, me, me, I, I, I." Adams' character is consumed by her own dissatisfaction, with little thought given to the bigger picture of her life. She has a loyal, hardworking husband who provides financial stability, a healthy son, and no visible external struggles-no sickness, no debt, no catastrophic life events. And yet, instead of appreciating the rare privilege of these blessings, the movie is a continuous complaint about the supposed monotony and thanklessness of her role as a stay-at-home mother.

The husband, played with frustrating cluelessness, is reduced to a caricature of a man who is completely oblivious to his wife's feelings. Not only is he depicted as an emotional punching bag, but the film also unfairly vilifies him for being the very backbone of the family's stability. His hard work, loyalty, and ability to provide are dismissed outright, as though these contributions hold no value simply because they don't address the emotional turmoil of Adams' character.

What's most grating is the complete lack of gratitude or self-awareness from the protagonist. She never pauses to consider that her lifestyle, her ability to stay home with her son, and her freedom to explore these inner crises are all facilitated by the husband she belittles. Nor does she reflect on the fortune of having a healthy child-a fact that many parents would consider a blessing. Instead, the film makes motherhood seem like a unique burden borne solely by her, ignoring the fact that countless mothers juggle far greater challenges with far fewer resources.

The film's heavy-handed focus on the protagonist's inner world feels not just self-involved but also deeply tone-deaf. Nightbitch could have been an opportunity to tell a nuanced, empathetic story about the struggles of modern motherhood, but instead, it alienates its audience with its relentless self-pity and lack of perspective.

In the end, Nightbitch is a frustrating watch. Its narrow focus on one woman's dissatisfaction, while ignoring the efforts and sacrifices of those around her, leaves little room for connection or broader relatability. For viewers seeking a more balanced or insightful take on motherhood, this film is unlikely to deliver.

Rating: 2/5.

Amy Adams really does throw herself into this as mother to a young lad whom she looks after whilst her husband (Scoot McNairy) goes to work - frequently for many nights at a time. There's no suggestion of infidelity, but gradually she begins to feel the strains of this relentless young lad's activities. He rarely wants to sleep, is always full of beans and has a penchant for repeating the odd expletive at exactly the wrong time! It's when she starts to notice some unwanted bodily hair, then some seemingly enlarged incisors that she begins to worry if she isn't undergoing some sort of transformation. All of a sudden, dogs start to show a special interest in her and she and their youngster start to play doggy a great deal more... She also finds herself experiencing flash-backs of her own mother and of her erratic behaviour. Might it be something in the genes? It's Adams's performance that stands out here, otherwise it's a really disappointing attempt at an horror story that falls between a multitude of stools. The character - few actually have names - vacillates between adoring mother (and, occasionally, wife) and maniac entertainingly enough for a while but then it becomes repetitive to no end. Sure, she's exhausted with her childcare responsibilities but why is that different to any other parent (not necessarily a mother) when faced with a child keen to explore and prone to tantrums. The marital relationship is presented in an wholly skewed fashion as if poor old Scoot - who was missing large chunks of their son's development - was somehow in clover whist she sacrificed her life and career as the "home-maker". In the end, once the humour had subsided, I found this a rather dull rant of a movie that contrived to suggest that this was a woman unique amongst parents, and that motherhood was somehow more visceral than fatherhood. What horror elements there are are entirely undeveloped and by the end I was just a bit bored. I did like the exhibits in her gallery, though - ideal for the Christmas tree, and the young lad (I think there were twins) was the real star of the proceedings.

What a load of self absorbed pap.

I wish I could leave this there but I need to use another 500 characters.

There is nothing good about this film.

Self absorbed self centred wife, weak enabling husband, boorish friends.. the dogs, cat and the kid are cute though.

Needless to say it all pans out in her favour in the end and the husband realises how selfish he's been by going to work and supporting the family whilst she's doing all the hard work obviously. Nasty man..

She begrudges him, the child, the poor cat, her inability to indulge her creativity then goes off on random rants on how she and other women are gods and how children destroy that..

How people get away with writing such drivel let alone getting it turned into movies is beyond me. I think Amy's piled in a few pounds and needed some work that called for a big girl so set this up herself maybe..

Why did I watch it? I love dogs! I thought it was going to be like digby for grown ups not the actual parp I was presented with.

Nil point.

Nightbitch 2024 Amy Adams plays a new mum whose given up her art career to care for her little baby.

Hubby goes to work oblivious to the bind and restrictions that motherhood places on the woman who used to be his free spirited wife.

She loses her identity and all her primeval urges come to the fore.

Some genuinely funny moments in the film, but throughout it does leave you appreciating the female is the species.

It's not a horror film by any stretch of the imagination but, motherhood is portrayed warts and all and it's not glamorous.

Nice score throughout, songs predominantly played by female artists.

7/10.

A 2-star rating due to some dark humor, otherwise a thoroughly unwatchable movie that I would love to just give a Zero rating. Okay, so motherhood is tough and women don't get the credit they deserve. This is NOT shocking news. Yes, sometimes the husband may be a little inattentive, but this is also not news (the mom, the dad and the son don't have names in the movie; they are just referred to Mom, Dad and Baby). The story is about about a woman that gave up an art career to be a mom. Again, not original. There's more to say, but not worth it. Just don't waste your time. This is really too bad as my wife and I are Amy Adams fans.

The movie is overall good, but I expected it to be darker and more horrifying, rather than comedic.

The targeted audience should be parents. Although I am not a parent right now, I can totally resonate with the themes presented.

If you have any questions about motherhood and feminine rage, you might find this film insightful.

The screenplay is also well-written; some dialogues from the characters are very sharp.

Marielle Heller is definitely a talented female director who can adapt a seemingly impossible book into a successful movie.

Adams is undeniably amazing. This is the best performance I have seen from her so far, and it might be the best performance I have seen this year. It is a career-defining performance. She is feral, brave, and funny. She truly commits to the role. The depth of her performance is evident in the intricate details of her facial expressions, which beautifully convey her anger, joy, and pain. Adams embodies the role of a mother with an authenticity that resonates deeply, likely stemming from her own experiences as a mother in real life. This personal connection elevates her performance, making it feel both relatable and genuine. I can't help but feel a strong connection between her portrayal and my own mother, as if she captures the essence of maternal love and sacrifice in a way that truly speaks to me.

This movie seems to be divisive so far. I have seen some people dismiss her performance, and many believe Adams shouldn't win or even be nominated for this bizarre role. No, definitely not. For me, acting awards are always performance-based, not movie-based. She is the vehicle of the film. She definitely should be nominated or even win. The passion shouldn't vanish.

I hope more people can recognize and see my points.

Other than that, Scoot McNairy is also fantastic.

Despite some flaws, the movie is worth watching.

Stunningly Explores a Hidden Side of MotherhoodBased on the acclaimed novel (published, 2021) by Rachel Yoder, "Nightbitch" is one of those movies where the title held a deeper meaning than what it seemed.

With its outstandingly dark-comedic take on what women, particularly mothers, experience everyday, "Nightbitch" contained a rare glimpse into a not-so-feminist tale that prioritised real truths and primal instincts in lieu of happy-feely pampering.

This deeply emotive and highly revealing story took me by complete surprise, thanks in large part to Amy Adams' natural performance as a mother whose gradual introspection became a lesson in fine acting.

Arleigh / Emmett Snowden (as the son) and Scoot McNairy (as the father) both did remarkable work bringing this story to life and making it feel genuine and credible.

What initially felt like a straightforward script was anything but. This story was practically a cave of uncomfortable revelations which I found myself exploring, even admiring, as the plot unfurled.

The parts where the mother (Amy Adams) started showing canine morphological features added to the uncomfortable and meta-physical, yet amusing nevertheless, elements in "Nightbitch".

In this regard, more than a few body-horror genre tropes added to the inherent intrigue. The mother was - either metaphorically, supernaturally, or literally - shape-shifting into a canine, tapping into her wild side in the process.

All this made the script feel as bold and original as the novel that inspired it. As the movie ran to a finish, I couldn't help but admire how close they came to showcasing one facet of the sheer mental, emotional, and hormonal juggling act that mothers go through.

There are indeed plenty of mums out there seeking more than just thank-yous and forehead kisses. Those mothers have had dreams which they sacrificed, ambitions they'd shelved for the sake of family, and distinct soul-expressions which they'd successfully kept hidden purely to fit into a domestic mould.

"Nightbitch" felt like an ode to the depth of personality that exists in women who have become mothers, are about to, or have been for decades. I believe everyone has to see this movie at least once.

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Special shout-out to Kerry O'Malley (as the mother's mum), Zoë Chao (as Jen), Mary Holland (as Miriam), Archana Rajan (as Liz), and Jessica Harper (as Norma).