the film wears its mental health focus on its sleeve. At one point, another person who shares Hannah’s affliction tells her, “We think appendages grow from something deep inside us. Something unknowable and painful.
It's a combination of unpredictable factors—this period in your life, this particular thing happening, your inability to deal with it at that moment in time.” Unlike those other takes on this formula, however,leans into the comedic side of self-loathing by making the physical manifestation of Hannah’s inner voice as grotesque as possible.
The creature design here is both horrifying and delightfully silly. When we first meet the appendage, it looks like some sort of unholy hybrid—like ifhad a baby with a bald Treasure Troll doll. Its voice is raspy and reptilian, and its skin is slick and sticky-looking. As the baby evolves from a Mr. Potato Head-like growth on Hannah’s side into a fully autonomous creature, it only gets scarier from there.
While Hannah’s devolution is clearly sketched and compellingly gross, her characterization feels thin. Robinson excellently portrays the physical manifestations of her character’s struggles—constant finger picking, compulsive head rubbing, and a general habit of fidgeting—but the material she’s been given sometimes works against her. The dialogue can be a little wooden, and her backstory a little contrived.
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