If you grew up in the 1990s, chances are you saw a good deal of Disney’s versions of fairy tales. Movies like Beauty and the Beast, Pinocchio, and The Little Mermaid took historically dark tales and reimagined them for a new generation. These stories helped bring a renaissance to the House of Mouse. I know it seems weird to think about Disney nearing bankruptcy but the majority of the 1980s were the proof. It wasn’t until a mermaid dreamed of being part of our world that they became the juggernaut we know now. I will be honest - The Little Mermaid is my favorite Disney Princess movie. I watched it ad nauseum as a kid.

This was my entry point into the world of mermaids, though I would later find out that it was a farce created for families. In most lore, mermaids are depicted as being murderous half breeds who lure men to their deaths via their siren songs. Beauty and the Beast is another example of a dark tale simplified for the entire family. The Grimms Brothers told fairy tales and other horrific stories that had the power to truly scare readers or listeners. I don’t know if you have ever heard any of these stories in their original format. They are gothic and sometimes bloody. That’s why I applaud companies like Zenescope Entertainment that are bringing these stories back to their roots. 

Films like The Brothers Grimm embrace the darkness at the root of such stories and marvel in it. Now there is another contender which dares to bring new twisted life into these classic stories in Mother Noose Presents Once Upon a Nightmare. Mother Noose is an anthological approach to classic stories like Hansel and Gretel, Cinderella, Pinochio, the Three Little Pigs, and Little Red Riding Hood. The Hansel and Gretel short, titled “Breadcrumbs”, tells the story of a husband who kills his wife and kids; he is gripped with such guilt that he turns to suicide. The Cinderella take, appropriately titled “Sinderella”, takes a grounded approach to the classic tale but offers a demonic twist. “The Real Boy” is the name of Pinocchio’s revival, in which the classic wooden boy gets trafficked into snuff films. Justice is served in “The Big Bad”, a take on Three Little Pigs, when a victim of sexual assault gets revenge on those who assaulted her. Finally we are left with “The Little Red Hood”, a Pulp Fiction-esque retelling of Little Red Riding Hood. 

The filmmakers behind these tales embrace the bizarre with ease. I have to applaud these filmmakers for their original takes on these classic tales - most notably, Sinderella and The Real Boy. They stand out due to their content but also alienate the casual viewer. This is a niche film in more ways than one. The POV throughline with Mother Noose telling these stories is interesting but the angle can be fairly jarring from time to time. Jezebel Anat, who plays Mother Noose, does a phenomenal job. It’s the content within these shorts that alienates the casual viewer. Not everyone is going to be into rape revenge scenarios or fetish films. It’s not for everyone; Noose is very much a polarizing film.

It’s not just that it’s made for a certain audience. They are generally short films within the anthology that work extremely well. Sinderella is the standout among the films. S. Watkins, who plays the titular character, makes the character extremely sympathetic. Her performance, balancing between brokenness and vengeance, is brilliant. Her performance stands out among every other actor in the entire production. This is basically a short film version of Promising Young Woman, second only to The Big Bad. The segment embraces the devastation of sexual assault and how someone processes that. It’s an elegant look at a touchy subject. 

DIY movies like Mother Noose make you more appreciative sometimes of bigger budget films, even the less desirable ones, because they make you realize what you take for granted as a viewer. There are some moments within Sinderella and The Little Red Hood specifically where the camera comes out of focus or the audio isn’t the greatest - which is weird to consider, because the audio within The Real Boy is among the crispest sound of the entire film. I understand budgetary restrictions and it’s not a fault of the filmmakers. Perhaps it is more of a warning to potential viewers and future projects of these filmmakers. Despite the technical issues of Mother Noose, the tone is hard to navigate too. The film could have felt more cohesive if they had stuck with one tone rather than bouncing back and forth. 

Breadcrumbs is a somber, almost borderline noir, feature where a man is heavily influenced through his depression, whereas The Real Boy is a love letter to the Grindhouse movies of the 1970s. It’s weird and raunchy. Then you have films like Sinderella and The Big Bad that take a more grounded approach to their storytelling, while The Little Red Hood is a straight up music video that breaks the fourth wall. This film could have worked together better with one consistent tone or theme, rather than just placing multiple fairy tales together with an “edgy take”.

Overall, Mother Noose Presents Once Upon a Nightmare has some tricks up her sleeve. The film has tone inconsistencies throughout its storytelling. It’s also an extremely niche movie that will delight fans of cult films and grindhouse movies, but bores the casual viewer. Some technical difficulties can make the film hard to watch at times. That’s the price of DIY though. However, the film is marked with a standout performance from S. Watkins who plays a dark take on Cinderella. Her short, Sinderella, and the Big Bad are welcomed depth to this movie. Mother Noose Presents Once Upon a Nightmare won’t break new ground but it has something for everyone.

RORSCHACH RATING:

Mental Health Moment: It is revealed during the Sinderella segment that our titular character lost her mother to suicide. Per the classic fable, this version too has an evil stepsister. Her method for bullying her sister is using Sindy’s mom as leverage, attempting to say that it’s her fault her mother committed suicide. Having lost someone myself to suicide, it forever changed the way I look at the subject. I began to take notice of the way in which people so casually say. “ugh, I just want to kill myself.” Moments like what Sindy experiences here are tragic. We fail to understand the weight of suicide until it shows up at our front door. 

Everyone has value. No one should ever be encouraged to take their own life. No one should ever discuss suicide in a sarcastic manner. People hide their struggles and deserve Oscars for the camouflage they use to make us believe everything is alright. Consider your words wisely.

If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!

Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Mother Noose Presents Once Upon A Nightmare is property of Wages of Cine and Buck Short Productions. We do not own nor claim any rights.

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