May

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Arwen A @RT52251803 May 4 This is what I call female/fem horror, coming from a woman. And that is a compliment, I'm glad I finally got to this movie, since this has always been recommended to me. Probably need to rewatch it, mostly because it is a pretty weird movie. While I love weird horror, there were definitely some scenes I hated watching because I got secondhand embarrassment, but that's just me. See more ashley T @Ashley526 Feb 22 I like all of the actors in it but Jeremy was the main reason i watched it and i think Anna is a naturally funny actress. See more Rachel G. @RaeTom Dec 22 "May I subtract this movie from my memory"? Im a "movie prude" and this movie deeply disturbed me. I disliked every minute and moment. The scissors and the stitching and the doll... I know it has a "following" and i have to ask "whyyyyy"¿?? Sincerely, Movie Prude See more Marco L @decatur555 Nov 23 (CASTELLANO) May es una de esas pequeñas rarezas que aparecen de vez en cuando, sin hacer ruido, pero que dejan huella. Se nota que es una producción modesta, con ese aire indie de principios de los 2000, cámara cercana, pocos escenarios y una atmósfera a medio camino entre lo íntimo y lo inquietante. Pero lo que le falta en presupuesto lo compensa con personalidad. Angela Bettis está increíble. Su interpretación de May, una joven frágil, rara y emocionalmente descolocada, resulta tan incómoda como conmovedora. Tiene ese tipo de inocencia que da miedo, la sensación de que algo se va rompiendo dentro de ella mientras el mundo la ignora o se burla. Es imposible no sentir cierta empatía, incluso cuando la historia se vuelve más oscura. La película empieza como una historia de soledad y deseo de aceptación, y termina convertida en un cuento macabro sobre la necesidad de crear, de poseer, de ser amado aunque sea por piezas. Lucky McKee dirige con una mirada muy personal, sin miedo a lo grotesco, pero también con ternura. Hay ecos de Carrie, Frankenstein y del cine más retorcido de los 90, pero con un tono propio, entre lo triste y lo perturbador. La música de The Breeders y ese aire noventero añaden encanto, recordando que el cine de terror puede ser también una forma de poesía sucia. No busca asustar con sobresaltos, sino con sentimientos incómodos: la compasión, el rechazo, la locura. May no es para todos, pero quien conecte con su rareza difícilmente la olvidará. Es una historia de amor deformada, un retrato de la soledad extrema y una demostración de que el verdadero terror no está en los monstruos, sino en lo que la soledad puede hacerle a una persona. (ENGLISH) May is one of those small, quiet oddities that slip under the radar but stay with you long after. It clearly comes from a modest production — that early-2000s indie vibe, close-up camera work, few locations, and an atmosphere somewhere between intimate and unsettling. Yet what it lacks in budget, it more than makes up for in personality. Angela Bettis is extraordinary. Her portrayal of May — a fragile, awkward, emotionally off-balance young woman — is both disturbing and heartbreaking. There’s a kind of innocence in her that scares you, the feeling that something inside her is quietly breaking while the world mocks or ignores her. You can’t help but feel empathy, even as the story descends into darkness. The film begins as a lonely character study and evolves into a twisted fairy tale about creation, possession, and the desperate need to be loved, even if it means assembling affection from fragments. Lucky McKee directs with sensitivity and courage, unafraid of the grotesque yet deeply humane. There are echoes of Carrie, Frankenstein, and the raw cinema of the ’90s, but it all feels unique — melancholic, strange, and oddly beautiful. The soundtrack, with songs by The Breeders, adds a nostalgic charm, reminding us that horror can also be dirty poetry. It doesn’t try to scare with jumps, but with emotions — pity, rejection, madness. May isn’t for everyone, but for those who connect with its strangeness, it’s unforgettable. A broken love story, a portrait of extreme loneliness, and proof that real horror lives not in monsters, but in what solitude can do to the human soul. See more Tyler K @Tyler_Kernelsemtex Aug 15 This film exploits the human behavior of an extremely introverted sociopath. The intimate scenes of May at home delving into her murderous hobbies. Showing all the tell tale signs of a growing psychopath, just waiting to unleash her violent tendencies on an unsuspecting victim. Watching a socially inept person explore her devious sexuality all while plotting her vengeance on the society that shunned her. Its definitely something to behold. See more Allan C @RT15713161 Jul 20 Slow buildup to a great ending May (2002) *** I’d always heard about this film and its cult following, and I’ve always found writer/director Lucky McKee’s films (THE WOMAN, OLD MAN) challenging and intriguing, even if most of them seemed flawed in one way or another. In this film, McKee’s first, Angela Bettis plays an awkward young woman who takes a shine to hunky Jeremy Sisto (CLUELESS, LAW & ORDER, FBI). Anna Faris (SCARY MOVIE, FRIENDS) plays her lesbian colleague who also takes an interest in May’s awkward ways. Any audience member familiar with McKee’s work knows his films typically go into dark and shocking places, so strap yourself in for where this film goes! My main issue with MAY is that the buildup to where the film goes takes too long, feels tedious, and is too clever for itself at times, winking at the audience one time too often at its own cleverness. Bettis is good in the lead as May, but it’s Faris and Sisto who stand out in the picture. Overall, once the film gets where it’s going, it’s fantastic, but I felt it was kind of a slog to get there.  AI CAPSULE REVIEW: May is a slow-burning character study that takes its time getting started, but pays off with a memorably dark and twisted finale. Angela Bettis is solid in the lead, but it's Anna Faris and Jeremy Sisto who really shine in this offbeat cult horror gem. See more Read all reviews

May

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