Ditching her partner-in-crime Steve Oram from Ben Wheatley’s SIGHTSEERS (2012), a movie puts her name on the map, British generalist Alice Lowe again, goes on a killing spree in her directorial debut PREVENGE, alone but not alone, as its title’s coinage proclaims, her character Ruth is carrying a baby girl, and this unborn fetus (heard through an irksome child voice) ostensibly leans on and cajole her gravid widow mother to avenge the death of the father whom she is deprived a chance to meet. nnA shoestring revenge tale (shot in 11 days) told in a chronological fashion seeing Ruth track down a total 6 individuals who are responsible for the death of her husband (Bessant), sequentially and bloodily murder them (save for the last one in the abrupt and ambivalent ending). Her modus operandi is straight-forward, catching them unawares and slashing their throats, mostly, although a quasi-catfight with Len (Whelan) is too idiosyncratic to take it seriously, who needs to wear a pair of boxing gloves in the life-or-death face-off? The truth is, PREVENGE can be deemed lousy by the slasher criteria, but Lowe punctuates its gory but routine business with a combo of wry gusto and quirky irrationality, say, after she surgically castrates the libidinous DJ Dan (Davis), she is patient enough to tuck the latter's pixelated mother (Hoffman) in and does the laundry she has promised her before leaving the bloody scene. nnHowever, barring those scintillating wheezes, PREVENGE is dead serious in a mother’s antenatal anxiety and psychogenic delusion, with her grounds of vengeance fitfully teased through repeated images, and no sooner than the middle point, the cat has already been let out of the bag, the funny point is, a viewer may lean to second with her alleged wrong-doers, under certain unfortunate circumstances, sacrifice must be exacted to preempt a bigger disaster, right? Which makes the whole enchilada paradoxical and mean-spirited.nn“Ruth must be ruthless”, her victims range from a creepy pet shop owner (whose reptilian and arachnid collections also double as the visual pointer of Ruth’s vile outburst), a sybarite mommy’s boy, a frigid high-flying woman pontificating in a clinical corporate office room and et cetera, the only unintended casualty is Josh (Wozniak), a seemingly nice guy who simply chooses the wrong roommate and appears at the wrong time, and this apparently serves as a wakeup call to her defunct moral compass, but that is a false promise, as personal corollaries are vanishingly omitted in the storyline (the baby is fine, she clearly is not), and augmented by its flaccid conjuration of a last-shot surprise, Lowe’s quickie project is somehow mired in its own cynicism, quirkiness and rashness, but still, thanks to it, this reviewer discovers Ben Hecht and Charles MacArthur’s CRIME WITHOUT PASSION (1934), truly, only an ill wind that blows no good. nnreferential entries: Park Chan-wook’s THE STOKER (2013, 7.4/10); William Oldroyd’s LADY MACBETH (2016, 7.9/10).
当女主角一次一次被腹中的胎儿操控，去杀死当年抛弃她丈夫的仇人，一张懦弱可怜的脸后，有颗嗜血的心。故事的剧情没有太大的波澜，人物上没有转折。只是这次的女主脚不是以一个强势复仇者的心态出现，她也会犹豫，也会怀疑，也会恻隐。除了杀死第一个光头佬外，其它的人，在嗜杀时都有自己的心理冲击。但是她摆脱不了胎儿对这个是世界的憎恨，即使在有些时候她已经释怀，但是最终还是举起了刀，刺向对方的咽喉。与普通的恐怖题材不同，这部电影中有两个耐人寻味的亮点。第一女主脚杀人后出奇的冷静，特别是杀光头佬后哄他妈妈睡觉的剧情，让我们觉得和她懦弱极端的对应的是她嗜血后的冷静。第二，真正的恐怖元素，那个胎儿，从没有出现过，只是声音，当主体犹豫的时候胎儿鉴定的恨也是恐怖片中不太常见的手法。
此恨绵绵~未有绝期 冤冤相报 就此了断~
呵呵，说实话，自成为孕妇以后，我也总想杀人。每次都以一种挑选猎物的目光来审视他们，最终确定杀哪一个。
片中孕妇满足了我的杀人幻想。而且孕妇杀人是不会被判死刑的。从抑郁症变成肝火旺盛的躁郁狂，希望那些我想杀的人都离我远远的，否则哪天我可能真的控制不住我自己内心的小疯子，该死的世界。
《幫寶弒》是部帶有女性主義的驚悚片，看得出來僅是小成本製作的電影，不過「麻雀雖小，五臟俱全」，本片劇本結構完整，並且有個合理的行兇動機，足以說服觀眾，不會像某些獨立製作的小成本驚悚片，沒頭沒尾，草草了結，純粹為嚇而嚇，虛張聲勢。
本片敘述一位孕婦，聽從肚中胎兒的指示，突如其然地針對某一群人展開獵殺，而在過程中透過她與胎兒的對話，不斷放出片段的資訊給觀眾，東拼西湊後，觀眾很快便能理解其孕婦的動機為何，甚至進而猜測出她與胎兒的對話，極有可能是她在人格上產生分裂，根本只是她為了找一個行兇的理由，而虛構出來的人格。
如果只是人格分裂電影，在驚悚片中並非稀奇的題材，尤其是在大陸這種題材更是多如過江之鯽，像是台灣演員李威去大陸演的《夜半梳頭》，就屬此類，但仔細區分，《幫寶弒》仍有別於以往的人格分裂電影，在劇情設定上有個不同之處，因為傳統的人格分裂電影的行兇者，往往不認為自己是兇手，將殺人的過錯推諉給分裂的人格，然而本片女主角分裂的人格則是下達指令而已，本體仍知道自己是行兇者。
《幫寶弒》除了在人格分裂設定上做出點小創新，也藉由女主角行兇的過程中，點出女性在社會上容易顯得較為弱勢的一些處境，例如：言語性騷擾、在夜店被撿屍或因懷孕而影響工作。因此，本片並非單純的血漿電影，以殘殺為樂趣，而是在行兇的過程中，還順便關注了女性議題。最後用一首十四行詩作結：
有個尿布品牌叫幫寶適，
片商將本片取名幫寶弒，
名稱看似惡搞其實寫實，
符合劇情做出完美詮釋，
這是個尋仇的殘忍故事，
女主角為愛而理智喪失，
丈夫遭人犧牲不幸逝世，
思夫心切所以立下血誓，
她的復仇之路從此開始，
不斷聽從腹中寶寶指示，
找出肇事者一個個吞食，
讓他們從活人變成死屍，
本片教觀眾要長點見識，
惹龍惹虎可別惹河東獅！
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九品中正制度評分：四品，中上之作。
（一品最高，九品最低）
Ditching her partner-in-crime Steve Oram from Ben Wheatley’s SIGHTSEERS (2012), a movie puts her name on the map, British generalist Alice Lowe again, goes on a killing spree in her directorial debut PREVENGE, alone but not alone, as its title’s coinage proclaims, her character Ruth is carrying a baby girl, and this unborn fetus (heard through an irksome child voice) ostensibly leans on and cajole her gravid widow mother to avenge the death of the father whom she is deprived a chance to meet. nnA shoestring revenge tale (shot in 11 days) told in a chronological fashion seeing Ruth track down a total 6 individuals who are responsible for the death of her husband (Bessant), sequentially and bloodily murder them (save for the last one in the abrupt and ambivalent ending). Her modus operandi is straight-forward, catching them unawares and slashing their throats, mostly, although a quasi-catfight with Len (Whelan) is too idiosyncratic to take it seriously, who needs to wear a pair of boxing gloves in the life-or-death face-off? The truth is, PREVENGE can be deemed lousy by the slasher criteria, but Lowe punctuates its gory but routine business with a combo of wry gusto and quirky irrationality, say, after she surgically castrates the libidinous DJ Dan (Davis), she is patient enough to tuck the latter's pixelated mother (Hoffman) in and does the laundry she has promised her before leaving the bloody scene. nnHowever, barring those scintillating wheezes, PREVENGE is dead serious in a mother’s antenatal anxiety and psychogenic delusion, with her grounds of vengeance fitfully teased through repeated images, and no sooner than the middle point, the cat has already been let out of the bag, the funny point is, a viewer may lean to second with her alleged wrong-doers, under certain unfortunate circumstances, sacrifice must be exacted to preempt a bigger disaster, right? Which makes the whole enchilada paradoxical and mean-spirited.nn“Ruth must be ruthless”, her victims range from a creepy pet shop owner (whose reptilian and arachnid collections also double as the visual pointer of Ruth’s vile outburst), a sybarite mommy’s boy, a frigid high-flying woman pontificating in a clinical corporate office room and et cetera, the only unintended casualty is Josh (Wozniak), a seemingly nice guy who simply chooses the wrong roommate and appears at the wrong time, and this apparently serves as a wakeup call to her defunct moral compass, but that is a false promise, as personal corollaries are vanishingly omitted in the storyline (the baby is fine, she clearly is not), and augmented by its flaccid conjuration of a last-shot surprise, Lowe’s quickie project is somehow mired in its own cynicism, quirkiness and rashness, but still, thanks to it, this reviewer discovers Ben Hecht and Charles MacArthur’s CRIME WITHOUT PASSION (1934), truly, only an ill wind that blows no good. nnreferential entries: Park Chan-wook’s THE STOKER (2013, 7.4/10); William Oldroyd’s LADY MACBETH (2016, 7.9/10).