Movie Review ~ The Fetus

Horror has always had a complicated relationship with pregnancy.  From Rosemary’s Baby to It’s Alive, filmmakers have mined the anxieties of impending parenthood, warping them into grotesque nightmares.  Joe Lam’s The Fetus proudly enters this lineage with a scrappy, micro-budget commitment to practical effects, tonal whiplash, and sheer audacity.  It aims to stand alongside cult oddities like The Kindred and The Unborn, delivering its reproductive horror with equal parts sincerity and splatter.  The film demands an audience willing to embrace its uneven execution and unrelenting weirdness.  Normally, I’d be the first to tap out on something this wobbly in its opening minutes—but to my surprise, I stuck with it.  And against all odds, I found myself charmed by its moxie and ambition.

Alessa (Lauren LaVera, The Life of Chuck), finds herself unexpectedly pregnant after a contraceptive mishap with her newi-ish boyfriend, Chris (Julian Curtis).  This is hardly a joyous revelation.  Having grown up under the rigid, anti-family doctrine of her father, Maddox (Bill Moseley, Prisoners of the Ghostland), Alessa is determined to break the news to him immediately.  She and Chris embark on a road trip, but the pregnancy takes a disturbing turn.  The fetus is growing at an unnatural rate, demanding sustenance in ways no prenatal guidebook could possibly cover.  Before long, Alessa and Chris aren’t just dealing with an unwanted pregnancy—they’re fighting for their lives against the monstrous entity growing inside her.

Lam, who also wrote the screenplay, has stated that he wanted to push horror boundaries while weaving in commentary on the pro-choice/pro-life debate.  That’s an ambitious goal for an 84-minute monster movie operating on limited resources, and to his credit, his conviction shines through—even when the execution falters.  More often than not, the film leans into its blood-soaked carnage and body horror, making it hard to latch onto whatever deeper message might have been intended.  The fetus itself—a grotesquely tactile creation—swings between impressively unsettling practical effects and moments that look like they were staged in a Spirit Halloween stockroom.

The opening act requires patience.  Iffy dialogue and uneven performances threaten to derail the experience before it truly begins.  Yet as The Fetus progresses, a strange charm emerges—largely thanks to the committed performances of its central trio.  LaVera, best known for Terrifier 2 & 3, carries the film, selling Alessa’s spiraling emotions and physical agony with conviction.  A weaker lead might have sunk the whole thing, but she anchors it, even as the narrative logic spirals out of control.  Curtis has less to work with, but he matches her energy gamely.

And then there’s Moseley.  A horror legend like him doesn’t need to do much to elevate material—his presence alone adds a layer of genre credibility.  As Maddox, he delivers grizzled menace, though his role is more atmosphere than substance.  The supporting cast, often appearing as victims of the ravenous fetus, feel exactly like what they are—crew members and friends stepping in for quick cameo kills.

Jeremy Royce’s cinematography keeps things lean and claustrophobic, making smart use of dimly lit interiors and roadside isolation.  Jaclyn Amor’s production design tips its shabby hat to low-budget ingenuity, maximizing borrowed homes and accessible locations without making their limitations feel distracting.  The practical effects team deserves real credit for some gnarly sequences, though the film stumbles whenever it leans on CGI enhancements.

Cards on the table, full disclosure, The Fetus is an acquired taste, even within the realm of extreme horror.  As it barrels toward its messy, over-the-top conclusion, I found myself increasingly won over by its reckless commitment to its concept.  It never quite lands the sociopolitical commentary it aims for—the portrayal of the fetus as a bloodthirsty parasite repeatedly invading its mother’s body doesn’t exactly foster nuanced debate about reproductive rights—but it’s undeniably passionate about horror tradition.  It lacks the polish of its influences, and the jarring tonal shifts require a flexible mindset, but it never feels soulless.

Watching The Fetus reminded me of those strange, low-budget video store discoveries from my youth—movies with obvious rough edges but an undeniable spark of creative will.  This isn’t sophisticated horror, but it’s also not cynical.  There’s an infectious enthusiasm behind the camera that slowly transfers to any viewer willing to go along for the ride.  Lam clearly has a knack for practical horror, and while this particular film doesn’t fully deliver on its loftier aspirations, it suggests a filmmaker worth watching.

Would it have worked better as a short? Probably.  There’s a tight, terrifying 30-minute film buried somewhere in here.  But as it stands, The Fetus is a messy, sometimes frustrating, occasionally delightful horror oddity.  Whether that sounds like a recommendation or a warning depends entirely on how much you’re willing to embrace the absurdity of a bloodthirsty, rapidly growing demon baby tearing through an unsuspecting cast.

Personally? I kind of respect it.

The filmmakers of The Fetus have planned an intriguing release schedule, offering curious viewers the opportunity to see the film and win prizes at the same time. 

Check out this website for more info: The Fetus Film