What Lowe has created in this, her directorial debut, is a fast-moving, edgy, dark and, dare I say it, distinctly British film that takes itself up and doesn’t shy away from having a probe at how we really are and what, perhaps, we are really thinking. And, most importantly, it tackles the often undiscussed issue of how expectant mothers are treated, both in society and by medical professionals, and with this Lowe and her cast do a frankly superb job at getting the subtle nuances of this often frustrating issue for women absolutely bang on.
There’s no doubt that what Lowe’s challenged, often uncertain character Ruth does is shocking. I mean, she’s a killer. But, as with other films of the same genre, such as Tarantino’s bride-killer movie series, Kill Bill, Prevenge showcases its protagonist in often subtle yet thought provoking ways. However, at the end of the film, I did come away thinking we could have done with knowing just a little more about the main character to give it a full three dimensional result. Interestingly, in the Q&A, Lowe said that she deliberately held back on telling too much about the characters’ past, for fear that it would come across as contrived or, indeed, create a different film altogether than the one she wanted. As a writer myself, I can understand this, yet, just a tad more on the character psyche or background, for me, would have really been the icing on the viewing cake.
But that’s picky, and, to be honest, Prevenge is a hit with so many amazing national and international reviews – including The New York Times - that it’s a real pleasure to see the reception such a ground-breaking film has achieved.
If I had to change one thing in the film, it would be the baby voice. For me, it didn’t work, but like I said – picky. Prevenge, bottom line, is dark and witty and at times deliciously funny. Often like pregnancy, in truth, but with Prevenge? Its pregnancy, but with an unexpected twist...