‘Nightbitch’ Barks Up the Wrong Tree

Marielle Heller’s “Nightbitch” is a misguided commentary on the primal nature of motherhood.

An adaptation of Rachel Yoder’s 2021 novel of the same name, the film stars Amy Adams as a stressed mother of one who transforms into a dog at night when motherhood overwhelms her. 

To the film’s detriment, “Nightbitch” is tonally inconsistent. Heller (“Can You Ever Forgive Me?,” “A Beautiful Day in the Neighborhood”) struggles to juggle magical realism, comedy, drama, satire, horror and social commentary all in one movie. 

The most egregious example is its classification as a horror film. “Nightbitch” fails to lean into any aspects of the horror genre, with frankly the scariest parts being the directorial choices.

Low-hanging jokes, meant to earn cheap chuckles from the audience, ruin the film’s potential for emotional depth. Funny, misplaced one-liners and random observational comedy plague the film’s runtime.

Noticing physical changes, such as the development of six new nipples or a tail sprouting from her lower back, Adams’ (“Catch Me If You Can,” “Junebug”) character, the nameless Mother, starts researching folklore about shape-shifting women around the world. 

After reading how mothers in South Asian cultures manifest as jungle animals, she transcends from her living room sofa into a mythical forest — only to be interrupted by a literal pile of her son’s excrement in his hands.

In the opening scene, Mother explodes into a “Barbie”-esque monologue about motherhood. Looking directly at the camera, she delves into how moms have to pretend raising a child is all sunshine and rainbows, when in reality, it’s a living hell.

Characters addressing the audience directly is a common occurrence in the movie, making it feel less like a Hollywood project and more like a high-budget public service announcement.

Not even the constant fourth wall breaking is consistent within the movie’s world. Characters are often unaware of Adams’ monologues, while other times they directly react, making it difficult to discern what to take at face value.

The trope’s frequency makes it feel like the filmmakers don’t expect the audience to understand the movie’s message without being told explicitly — even though it’s as blunt as a sack of bricks.

Regardless of the major storytelling flaws, the film does manage to be entertaining, albeit due to awkward comedy. 

When Mother realizes she’s discontent with her parental role during a dinner with friends, she enters dog form. Her melodramatically bared teeth and sporadic barks are laughably over the top.

Acting choices like these are to be expected from a children’s production of “101 Dalmatians,” not a professional movie production.

Performances from other actors, such as Mother’s husband (Scott McNairy) and friends, fall utterly flat. Their acting is better suited for an As Seen on TV infomercial.

A side plot following Mother’s relationship with her own mother disappears in the second half of the film. The non-ending is half-heartedly resolved at the very end, almost as if it was forgotten and tacked on at the last minute.

Even though the film is only 90 minutes long, the last act drags at a snail’s pace. What at first seems like a clear climax is drawn out to further the runtime, wasting what could’ve been a clear-cut conclusion.

A surprising highlight of the film is the portrayal of Adams’ toddler son, played simultaneously by twins Arleigh and Emmett Snowden. The twins bring sincerity to the role, making the son feel like a true character rather than a random child.

While it has an interesting premise and some genuinely funny jokes, “Nightbitch” is anything but a dog treat.

“Nightbitch” is in theaters now.