In a suburban community, moms and dads, one after the other, mysteriously feel the irresistible impulse to attack and kill their own offspring.

Credits: TheMovieDb.

Film Cast:

• Brent Ryan: Nicolas Cage
• Kendall Ryan: Selma Blair
• Carly Ryan: Anne Winters
• Joshua Ryan: Zackary Arthur
• Damon Hall: Robert T. Cunningham
• Riley: Olivia Crocicchia
• Mel Ryan: Lance Henriksen
• Barbara Ryan: Marilyn Dodds Frank
• Jenna: Samantha Lemole
• Homeroom Teacher: Joseph D. Reitman
• Jeannie: Rachel Melvin
• Tanner: Brionne Davis
• Dan: Bobby Richards
• Dr. Mehmet Oz: Mehmet Oz
• Expert: Grant Morrison
• Sun-Yi: Sharon Gee
• Mr. Hall: Edwin Lee Gibson
• Jin-Lisa: Adin Steckler
• Madison: Cassidy Slaughter-Mason
• Doctor: George Griffith
• Mrs. Winslow: Sheri Hawthorne Carbone
• Young Carly: Lila Tellone
• Administrator: Christine Dye
• Nurse: Lorena Diaz
• Police Officer: Rob Gough
• Parent: Angela Diehl Forman
• Interviewer: Angie Fenton
• Dad in Pool (uncredited): Michael Yurchak
• Crazed Dad / Mr. Stevens (uncredited): Bishop Stevens
• Gym Teacher (uncredited): Dale Miller
• High School Student (uncredited): Emmalee Parker
• Hospital Visitor (uncredited): Brett Mahoney
• Parent (uncredited): Charles Poole
• Student (uncredited): Tyler Sopland
• Student / Runner (uncredited): Katie Stewart
• Zumba Dancer (uncredited): Angie Willmott
• Parent on TV (uncredited): Bokeem Woodbine
• Trans-Am Girl (uncredited): Cacia Rose
• Tanner’s Assistant: Andreea Marcu

Film Crew:

• Executive Producer: Robert Jones
• Director of Photography: Daniel Pearl
• Writer: Brian Taylor
• Editor: Fernando Villena
• Executive Producer: Cassian Elwes
• Utility Stunts: Felipe Savahge
• Colorist: Jason Yanuzzi
• Sound Editor: John W. Frost
• Stunt Coordinator: Glenn Foster
• Executive Producer: Nick Spicer
• Associate Producer: Aaron Scotti
• Executive Producer: Nate Bolotin
• Gaffer: Matt Ware
• Executive Producer: Wayne Marc Godfrey
• Stunts: Keith Meriweather
• Executive Producer: Christopher Lemole
• Executive Producer: Ali Jazayeri
• Unit Production Manager: Brendan Garst
• Wardrobe Supervisor: Marie Perry
• Sound Editor: Steven Tarabokia
• Transportation Captain: Oscar Beguiristain
• Executive Producer: Tim Zajaros
• Sound Designer: Patrick O. Bird
• Visual Effects Supervisor: Connor Meechan
• Post Production Supervisor: Kyle Tekiela
• Stunts: Bob Fisher
• Production Design: James Wise
• ADR Recordist: Russell Johnson
• Extras Casting: Vin Morreale Jr
• Music Supervisor: Ryan Gaines
• Executive Producer: Jere Hausfater
• Costume Design: Gina Ruiz
• Stunts: Delmar Reyna
• Costume Supervisor: Sean Apuzzo
• Studio Teacher: Alicia Kalvin
• Transportation Coordinator: Kevin Sieve
• Location Scout: Adam Snyder
• Executive Producer: Rob Gough
• Production Supervisor: Rebecca Lundgren
• Co-Executive Producer: Steve Ponce
• Makeup Department Head: Leah Vautrot
• Stand In: Angie Willmott
• Executive Producer: David Gendron
• Co-Executive Producer: Alex Lebovici
• Set Decoration: Erin Plew
• Key Makeup Artist: Stacey Perry
• Key Hair Stylist: Renee Ramos
• First Assistant Director: James Currier
• Second Assistant Director: Robert S. Hoffman
• Property Master: Chad Blevins
• Boom Operator: Nick Price
• Sound Mixer: John Villarosa
• Best Boy Electric: Andrew Kyle Morrison
• Key Grip: Lucas Staley
• Grip: Patrick Strunk
• Casting Associate: Alexis Jade Links
• Key Costumer: Candace Lawrence
• Location Manager: Christopher M. Wood
• Stand In: Sara Bakay
• Script Supervisor: Brett Durbin
• Stand In: Isaac Joseph
• Stand In: Isaac L. Joseph
• Production Accountant: Bill Wingate
• Thanks: Richie Walls
• Stunts: Sarah Reagin
• Digital Imaging Technician: James Notari
• Editor: Rose Corr
• Stunt Double: Diz Sharpe
• Music: Mr. Bill
• Stand In: Theresa Sutera
• Second Second Assistant Director: Lindsey Jayne Boyd
• Makeup Artist: Trevor Thompson
• Best Boy Grip: Daniel Williamson
• “A” Camera Operator: Spencer Meffert
• Leadman: Danielle Elise Bartley
• “B” Camera Operator: Alexander Elkins
• Makeup Artist: Andrea Ahl
• Production Coordinator: Bridget Gronotte
• First Assistant “A” Camera: Geoffrey Storts
• Second Assistant “A” Camera: Taylor Dekker
• Music Supervisor: Scott Irick
• Music Coordinator: Jennifer Ham
• Art Department Coordinator: Wendy Coad
• Art Department Assistant: Michael Tyler McDaniel
• Construction Coordinator: J. Ryan McCleney
• First Assistant “B” Camera: Kimberly Meffert
• Second Assistant “B” Camera: Zeb Roberts
• Electrician: Compass Hernandez
• Dolly Grip: Bj Hyman
• Sound Editor: Drew Frost
• Music Editor: Marc Perlman

Movie Reviews:

• Gimly: It’s dumb as Hell and probably only got created to facilitate Nic Cage meeting his freakout quota and also what was that ending? But shit, I’ve had way worse times with a movie. Probably less cathartic to someone who actually likes children or has a healthy relationship with their parents, but for me and mine? _Mom and Dad_ weren’t half bad.

  _Final rating:★★★ – I liked it. Would personally recommend you give it a go._

• 40w2000: The movie presents a fun and interesting idea of parents trying to kill their kids and reminded me of the excellent Masters of Horror episode ‘The Screwfly Solution’.

  Well, it was a fun idea until the movie just ended with absolutely no resolution at all. No proper ending, no answers, nothing at all. Just the credits half way through the story. I felt like I’d just wasted the last 80 or so minutes of my life. I can’t recommend half a movie and I’ll give it half a score. 2.5 out of 5. Don’t waste your time.

• larz9: I am seriously no longer watching any more films with Nic Cage in them. Between this and his other recent release, “Looking Glass,” I have absolutely had it with the crappiest of storylines, some of which may have had potential but have wound up having less than a D-grade quality to them.

  Honestly people, don’t waste your time watching this movie which is totally devoid of any entertainment value.

• tmdb28039023: Mom and Dad is one of the weirder Nicholas Cage movies, and also one of the better. Here’s a film with arguably the most disturbing birth scene ever, made even creepier by the Roxette ballad playing on the soundtrack; a film that asks, what would happen if the maternal instinct were suddenly replaced with the killer instinct? That the violence is exclusively intrafamiliar (i.e., any given set of parents is hell-bent on killing their own children but not those of, say, the next-door neighbors) is as twisted as a twist can get – and I mean that as a compliment.

  The movie wisely doesn’t bother explaining the origin of the parents’ homicidal rage against their offspring; this is just one of those things cinema has led us to expect from America’s deceptively peaceful suburbs. Also, the cause doesn’t matter; what’s important is that this premise is a perfect vehicle for Nic Cage’s bipolar intensity (he works wonders with his facial language, going from smile to frown and back again in such a way that it’s almost impossible to determine which is more off-putting). His character, Brent, is a family man in the midst of a midlife crisis whose latent instability is cleverly established in a scene where he sets up a pool table in his ‘man cave’, only to destroy it with a sledgehammer when he can’t get the table’s surface to achieve full horizontality.

  Mom and Dad is a black comedy filled with paradoxical humor. For Brent and his wife Kendall (Selma Blair), stalking their sons Carly (Anne Winters) and Josh (Zackary Arthur) as they hole up in the basement is like a second honeymoon, and to explain why he bought a gun, Brent tells Kendall that “some psycho could break into the house. How am I supposed to defend us?”, blissfully oblivious to the fact that he’s now the psychopath. And then there’s an exquisite turn of events in the third act, a kind of deus ex machina that actually makes perfect sense, involving a visit from Brent’s parents, and including a fierce cameo by Lance Henriksen.

  In the midst of all this chaos, the filmmakers manage, in the brief 83-minute runtime, to establish meaningful relationships among the main characters, especially in the opening scenes but also through the use of of well-placed flashbacks.