Nightbitch (2024) Movie Review: Compelling Amy Adams Performance Is Overshadowed By Underdeveloped Black Comedy

“Nightbitch” is a very compelling dark comedy about the challenges that are inherent to child-rearing, but it is unfortunately saddled with a ridiculous metaphor at its center that drags the pacing to a halt. There may have been a way to spin “Nighbitch” into a more absurdist romp that embraced visceral horror, and it also may have succeeded had it leaned entirely into the drama with an approach that felt more authentic. Unfortunately, “Nighbitch” feels lost somewhere in the middle, leading to a rather unpleasant slog that lacks cohesiveness. While it would be hard to fault the ambition behind its concept, “Nighbitch” is not nearly as shocking, devastating, or funny as it is clearly aiming to be.

Based on the novel of the same name by Rachel Yoder, “Nighbitch” centers on an unnamed mother (Amy Adams) who finds it harder to raise her son (played by twin child actors Arleigh and Emmett Snowden) due to the frequent absence of her husband (Scoot McNairy), who works an intensive day job. Adams’ character grows increasingly agitated by feelings of depression and isolation, as she has grown aggravated by having to spend time with other parents, who only seem interested in discussing their children. Although she floats the possibility of doing part-time work to reconnect with her dreams of becoming a painter, the frustrated mother is dismayed when her husband offers no support or encouragement.

The premise of “Nighbitich” alone would have been compelling enough, as there have been relatively few mainstream films in recent years that deal with the mundane realities of parenthood. Classics like “Parenthood” or “Mr. Mom” were quite successful within the 1980s, but their general absence within the past few decades suggested that “Nightbitch” could have offered something to audiences that they were craving. Unfortunately, “Nighbitch” attaches a bizarre supernatural component that makes it hard to take the rest of the story seriously. As she begins to lose her sense of self, the mother begins to believe that she is actually transforming into a dog.

It’s a very obvious metaphor for feeling ignored and animalistic, but “Nightbitch” doesn’t go beneath the surface with its concept. It may have succeeded had the dog segments of the film been confined to just one dream sequence, but the consistent intertwining of the two realities makes it more challenging for “Nightbitch” to retain its tonal consistency. The film never makes it clear how much of the fantasy plot should be taken seriously, as only some consequences seem to have clear and direct ramifications. More distracting is the odd framing of these scenes. While they’re not genuinely scary enough to be horrific, there’s nothing particularly amusing that would transform the film into a dark comedy.

The most disappointing aspect of this strange narrative direction is that director Marielle Heller has proven to be quite talented at telling grounded, emotionally authentic stories about troubled relationships. Heller examined the sexual awakening of an adolescent girl in “The Diary of a Teenager Girl,” shined a spotlight on a bond between two LGBTQ friends in “Can You Ever Forgive Me?,” and unpacked the necessity of male sensitivity in the Academy Award-nominated biopic “A Beautiful Day in the Neighborhood.” There are interactions between Adams and McNairy that are quite powerful, as the film is smart enough to acknowledge that neither character is an obvious “villain.” Sadly, these moments are engaging enough that it becomes even more distracting when it is diverted to explain why the mother is turning into a dog.

The dog scenes are not nearly as ridiculous as they could have been, as “Nightbitch” is relatively uncreative when it comes to its visual gags. While perhaps Heller did not want to include any overt instances in which the logic of the film breaks, it becomes increasingly unbelievable that the plight Adams’ character suffers from would go unnoticed. The fact that her erratic behavior is overlooked may be the entire point, but the film isn’t interested enough in seeing her succeed. Even though the story is centered around the mother wanting to feel inspired once more, there is relatively little time dedicated to showing what makes her motivated and joyful.

The conventionality of the narrative extends to the supporting characters, who all seem to be filling out the most basic of family movie archetypes. The group of maternal friends consists of broad caricatures that are quite shallow. It is particularly disappointing that a film so intent on exploring the complexities of motherhood doesn’t seem to have any interest in exploring a diversity of experiences. There is a brief suggestion that Heller is interested in exploring how “high society” looks down on working-class parents, but like most things in “Nightbitch,” this idea receives little more than a passing gesture. 

The standout aspect of “Nightbitch” lies in its exceptional performances, with both Adams and McNairy bringing remarkable depth to the material, elevating it far beyond what is written on the page. Adams has been considered to be one of the best actresses of her generation for quite some time now, but she has never had a role that is this unflinchingly honest. There are moments in which her ability to stand up for herself is quite inspiring, but there are also instances in which her wrong-headed decisions are intended to elicit feelings of embarrassment. Adams adds a degree of vulnerability to her performance, which makes her likable, even if the character does have some flaws. McNairy does not have nearly as much material to work with, but a segment towards the end of the film dedicated to showing his maturation is surprisingly well handled.

Even when looking past its ridiculous conceit (which is admittedly hard to do), “Nighbitch” does not have any actual insights other than the generic truism that “parenting is a burden.” The result is a film that feels cloyingly cynical, as even the scenes aimed at showing the rewards of raising a child feel quite unpleasant. Heller is a great director, the cast is terrific, and there was potential for “Nighbitch” to be so audacious that it could succeed. While it isn’t necessarily unwatchable, “Nightbitch” is a jumbled mess that feels ill-conceived on every level.

Read More: 10 Best Amy Adams Movie Performances

Nightbitch (2024) Movie Links: IMDb, Rotten Tomatoes, Letterboxd
Nightbitch (2024) Movie Cast: Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Jessica Harper, Zoë Chao, Mary Holland, Archana Rajan

Where to watch Nightbitch