The Mother is ludicrous J.Lo action, but it can't survive a mid-movie recalibration that feels unfortunately algorithmic. rockmarooned's review of the Netflix film:
offers a tantalizing glimpse at a less glam Lopez, whose career spun off fromto land on EuropaCorp-style exploitation. The movie opens with efficient nastiness: A never-named woman is making a deal with feds to turn over information about gunrunners when their safehouse is attacked, killing most of the men inside. The woman evades kingpin Adrian Lovell , managing to save herself as well as the life of a wounded Agent Cruise , though Adrian gets away with some nasty burns.
Later, as she recovers in the hospital, a senior agent lays out the new terms: The Mother will be separated from her just-delivered baby in order to protect them both. She insists that she’s fully able to keep her child safe. But the FBI, operating under the bizarre assumption that a woman with a baby would stick out like a sore thumb to any prospective assassins, won’t help unless she agrees to give up parental rights.
So far, so ludicrous – and directed with satisfying propulsion by Caro, which is really what matters here. There’s a tightly edited sequence where the Mother, stationed in a parking garage with her sniper rifle, attempts to prevent a daylight kidnapping, and another featuring a chase through the streets of Havana.
Lopez indulges a different form of movie-star vanity than simply making herself over as an unstoppable woman of action. The movie pretends to conceal her mothering sensitivity, but it’s actually flaunting the same maudlin old-man sentimentality that drives so many Liam Neeson vehicles, minus the genuine anguish Neeson can usually summon on cue.
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