Clawfoot
Written by April Wolfe
Directed by Michael Day
Starring Francesca Eastwood, Milo Gibson, Olivia Culpo, Oliver Cooper, and Néstor Carbonell
Runtime 1 hour and 27 minutes
Available to watch digitally

by Vannah Taylor, Staff Writer

Coming from the mind of April Wolfe, who previously wrote Black Christmas (2019), a #MeToo feminist horror re-imagining of the 1974 slasher classic, Clawfoot will leave you wanting to sing along to Taylor Swift’s “Look What You Made Me Do”.

The film opens on a gorgeous and doe-eyed Janet (Francesca Eastwood) as she sits in front of her vanity, meticulously looking over her appearance. Then the film makes sure we understand what kind of world Janet lives in as the camera pans over her comfortably empty home as she scrubs floors, cleans countertops, and drinks from her half of a set of “his” and “hers” mugs. Everything seems to be in place and just as it should be. That is, until a handyman unexpectedly shows up to renovate the master bathroom. Leo (Milo Gibson), despite her protests, explains that he has the order and even a deposit from her husband Evan. Janet finally lets him into her home, and this is only the first of many boundaries he will cross in this neat little thriller.

The two engage a game of niceties as Leo continuously tests his luck with who he deems to be a meek little pampered woman, making the plot reminiscent of films like Speak No Evil or Funny Games, but with a much more playful tone rather than the bleak or hopeless gut punch delivered by those two films. He overstays his welcome in a myriad of ways, like helping himself to her kitchen, and giving unwarranted advice regarding her biological clock–and in each of these moments, Janet envisions herself committing acts of violence against this unwanted guest, cluing us in to what is really going on inside her curly blonde head. Soon, Leo will find out he messed with the wrong housewife.

The first half of the film lollygags around, much like this so-called handyman, which helps the audience sit in Janet’s frustration. However, this means that the film needs to generously reward the audience as it ramps up in the second half for staying committed–and it almost meets the mark. This black comedy/thriller leans heavier towards the comedy side. While it might not be very thrilling, it is a really fun time much to the credit of Janet’s hilarious best friend Tasha (Olivia Culpo), who comes over for yoga sessions, sipping rosé through a silly straw, and dishing out the deets about her job as a defense lawyer, all while her son fades into the background playing on his iPad.

Eastwood and Culpo have great chemistry as a special kind of deranged “Real Housewives” that I would watch any day. In the end, this film is really about having the right kinds of friends who will come with you into the film’s surprisingly bloody final act. While it will leave you wanting more, Clawfoot will be a treat for anyone who is a fan of watching Francesca Eastwood cut up men–see also M.F.A. (2017).