The Front Room: A Hilariously Cringy Good Time

Directed by Max Eggers and Sam Eggers

Screenplay by Max Eggers and Sam Eggers

Starring Brandy Norwood, Andrew Burnap, Neal Huff, and Kathryn Hunter

Synopsis: Based on the short story by Susan Hill, the film follows new mother and former adjunct professor Belinda (Brandy Norwood), whose life takes a dramatic turn when her mother-in-law, Solange (Kathryn Hunter), moves in with her and her husband. Determined to disrupt their peaceful existence, Solange uses her mysterious past to blur the lines of reality, driving a wedge between the couple with her rigid beliefs and outdated ways.

I was intrigued by this film for two reasons: it’s an A24 production, and the company has a strong track record for quality films. Plus, it stars Brandy, who we haven’t seen in a big horror film since I Still Know What You Did Last Summer. I can honestly say Brandy delivered a solid performance, especially in capturing the facial expressions we’d all have if we had to deal with the menacing Solange. I’m not usually a vocal movie-watcher, but I found myself blurting out “Really?!” and a few “Hell no’s!”

Norwood excelled when her character finally had enough of Solange’s antics and her husband’s timid attitude toward his mother. She also convincingly portrayed fear during the film’s more horrifying scenes, heightened by clever lighting and camera work that kept the audience invested in the tense moments.

Hunter, as Solange, was an excellent counterpart to Belinda. From her very introduction, she was menacing and terrifying. Her first appearance—her voice coming through Norman’s phone—set the tone perfectly, as we watched the color drain from his face. Solange’s full entrance at Norman’s father’s funeral, dressed in all black and veiled like an angel of death, cemented her as a haunting presence.

Solange’s deep Southern religious beliefs solidified her as the film’s embodiment of evil. Though she implied racism rather than outright declaring it, her actions and words made her views painfully clear.

One of the film’s most unsettling aspects was Solange’s manipulative nature. She would make false accusations about Belinda and fake tears in front of her stepson, only to smirk at Belinda when Norman wasn’t looking. Solange was also disturbingly trifling—she soiled herself just to force Belinda, who was home alone with her most of the time, to clean up after her. These scenes were cringeworthy and downright gross, thanks in part to the prop department’s disturbingly realistic effects.

What I loved most about the tension between Belinda and Solange was that both characters struggled with their own issues. Solange didn’t want to be old and alone, while Belinda was uncertain about motherhood and felt marginalized by the university as a minority teacher.

If you’re a film nerd, you’ll appreciate the cinematography in this movie. There are beautifully shot scenes, particularly one where two characters sit across from each other at a dinner table with a small mirror on the wall. As the camera zooms in on the mirror, one character fades from view, and the reflection seamlessly transitions into the actual scene—a visual metaphor for diving deeper into their fractured reality.

The filmmakers also used camera angles, symbols, and character placement to heighten the film’s atmosphere. For instance, there are multiple transitions at the dinner table: at first, Belinda and Norman sit together while Solange is across from them. As Belinda nears childbirth, she’s placed in the middle, with Norman and Solange on either side. Later, when Solange takes over the house, the background shifts to reflect her growing influence.

The film is also full of symbolism and Easter eggs, particularly with crosses and fish symbols that appear throughout. They’re hidden in the background and on objects like cars, so you might want to watch it again to catch them all.

Much credit goes to the sound design team, which heightened the horror elements. The loud beating of Solange’s cane as she walked reminded me of The Tell-Tale Heart—each beat grew louder and more terrifying, haunting Belinda. The eerie heartbeat sound that played throughout was equally chilling.

I did find the speaking-in-tongues scenes uncomfortable, but that’s just a personal reaction. If you’re deeply religious, some of the dialogue and scenes might offend you.

There were a few inconsistencies in the film, like the existence of Solange’s cult-like followers. I expected them to play a bigger role in making Solange more terrifying, but their presence was underutilized.Conclusion: The Front Room will make you laugh, cringe, and want to RKO Solange for her rude behavior and wild antics. With its beautiful cinematography and hilarious banter between Belinda and Solange, the film is an entertaining ride. The twist at the end was satisfying, and Solange is a character you’ll love to hate. I recommend seeing this movie with a group because you’ll have plenty to discuss during and after. I give The Front Room an 7/10.