A copy of a copy of a copy that came out all fucked up in the best way. Color me mildly disappointed only because the set-up was so good that any concrete attempt at answering the raised questions was going to disappoint. (Also, that Ronettes song was maybe a bit too lily-gilding.) But this is a “fun” (ymmv) ride that also has a lot of fun teasing out its threads on sexual politics and cultural decay while tossing off all its offspeed stuff. & while I wasn’t so fond of all the faux-fish-eye distortion, apart from its use during the A+ Richard Brake sequence (& shout out to Josh Lewis for making a connection to the camera work in Angst), Cregger’s direction was top-notch, especially when it came to prolonging dread and making baby bottles look wholly unappetizing.

(But also I wouldn’t have minded the more traditional thriller promised by the film’s front half.)