Finish the process by having a conversation with our adoption staff. Review the information we have on file about the pet and his/her past experience. Sometimes we need to have the entire household meet the pet. If you see a pet that you like, ask staff to meet the pet (if the pet is available to be taken out). Come in with your family and look around. We try to match a person’s pet expectations so fewer pets are returned. Run Rabbit Run is being shown as part of Sydney film festival, on 10 and 15 June.We believe in an open, judgement-free adoption process. Motherhood, for all its mayhem, looks a little mundane. Taken together, they play less like a film and more like a moodboard of scares. But these hints never erupt into something greater, and it begins to grow tiresome.
AWA VOORHEES FERAL OCT 9 FULL
Something here is weird, we’re told for the fourth, fifth, sixth time.Īgainst all reasonable logic, Sarah returns to her late father’s country house with Mia in tow, where the film continuously hints at a darker current of dread eddying just beneath the surface: patches of blood that mysteriously appear on Mia’s forehead, or a back yard shed full of sharp tools. Screenwriter Hannah Kent – better known for her novels – has a knack for morbid, moody portraits of women in isolated communities, but Run Rabbit Run leans on its atmosphere as a crutch, turning to an abstraction that feels increasingly limp. At its worst, it replicates the most overplayed tendencies of so-called elevated horror, the subset of the genre which rejects outright thrills and chills in favour of a more subdued, and often duller, gloominess. Run Rabbit Run pulls from each of these entries without ever quite congealing into its own work.
Snook, of course, is typically excellent, fresh from her turn as Succession’s petulant, scheming Shiv Roy in another spiky role here – but even her performance, as it heightens towards a crazed delirium, recalls Toni Collette’s in Hereditary. Mia’s uncanny, sinister quirks are pulled straight from The Babadook Sarah’s strained relationship with her ailing mother hews a little too close to Relic, with which this film shares two producers. These are certainly intriguing threads, but they can’t help but feel recycled. Before long, Mia is insisting that she is Alice reincarnate. Something’s been off-kilter since her birthday: she’s suddenly demanding to visit Joan (Greta Scacchi), Sarah’s long-estranged mother whom Mia has never met. But the film quickly does away with the bunny’s mystery (supernatural, or merely strange?) to focus on Mia’s increasingly hostile demeanour. Its arrival might be a Lewis Carroll reference, especially given the name of Sarah’s sister – Alice – who went missing as a child. The bunny becomes one of Run Rabbit Run’s most tantalising elements. “Piss off,” she chides the bunny, who promptly bites her. Not since Monty Python has a rabbit looked so bloodthirsty it’s no wonder Sarah tries – and fails – to exile the feral creature when she thinks no one’s watching. We return to the rabbit throughout the night, sometimes in spine-tingling closeup, its eyes gleaming devilishly in the blue-dark.
It takes to hiding under tables and in eerie corridors: an unwelcome guest whose presence is less adorable than alarming. Sarah trudges through melancholia to put on a birthday celebration: a quiet affair with her ex-husband, Pete (Damon Herriman), and his new partner, Denise (Naomi Rukavina).Ī white bunny has somehow entered the house, to Mia’s delight and Sarah’s consternation. The sky is pallid, and the house – a chilly place somewhere in the city – easily dwarfs its two inhabitants. Mia’s grandfather has recently died, and mother and daughter are still riding the aftershocks of his death. It’s Mia’s seventh birthday, but everything feels grim.
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