‘Mama’ horror without the gore

By ROGER MOORE
McCLATCHY NEWS SERVICE

“Mama” breaks a lot of horror movie rules, right off the proverbial bat.

It gives us a long back-story opening, and brings up much more back story as the tale progresses.

It overexplains. It reveals its supernatural menace, not just in glimpses, but full on, and early on. There’s never any idea that this might be all in somebody’s head.

But “Mama” is a reminder that the best chills don’t involve chain saws, blood and guts. Horror is a product of empathy — in this case, fearing for the safety of small children and the 20-something rock musician (Jessica Chastain) reluctantly stuck with caring for them.

A prologue tells us of a tragedy. A distraught father (Nikolaj Coster-Waldau) flees financial scandal by shooting people, grabbing his children and fleeing into the snowy mountains of Virginia. They crash, he drags the innocent little girls to a remote cabin, and just as he is about to finish his horror something happens to him.

Cut to five years later, and searchers finally find the girls. They’re feral, nonverbal, skittering around on all fours like rats. Their artist uncle, Lucas (also Coster-Waldau), is ready to take them in. His bass-playing girlfriend, Annabel (Chastain), is not.

“Don’t call me that,” she says with a smile when Victoria (Megan Charpentier) calls her mom. She’s not. “This isn’t my job,” she tells Lucas.

But thanks to financial arrangements made by the conniving psychotherapist (Daniel Kash) who sees glory in their case, the D.C. couple move to a free house in Richmond and try to bring the girls — Lilly (Isabelle Nelisse) doesn’t speak, but only gurgles, grunts, eats cherries and sleeps with tree limbs — back into the human race.

Thanks to whatever kept them alive for five years in the woods, that’s not going to be easy.