"Clock" - Hulu Film Review
Clock is a horror story for people who choose to be child-free. At a baby shower, Ella (Dianna Agron) is accosted by moms who ask her when she’s going to have kids, how she spends her day without kids, and who tell her not to worry, her clock will kick in soon enough. The scenes of Ella’s pap smear are shot as it’s they’re a dastardly villain torturing her and not a regular exam. The close-ups of the speculum, the exaggerated sounds of latex stretching, and Ella’s clenching fists. It’s all very uncomfortable for both Ella and the viewer. There’s an overwhelming anger that’s bubbling up in Ella about how she’s constantly bombarded with other people’s expectations for her own motherhood.
Ella doesn’t seem to have made peace with the fact that she has no desire to have children. After her father (Saul Rubinek) presses the issue over dinner with Ella and her husband (Jay Ali), Ella wonders if there’s something “wrong” with her clock. This leads her to contact Dr. Elizabeth Simmons (Melora Hardin), who has been exploring the idea of a “broken clock” as a fertility issue. Ella goes through Dr. Simmons’ 10-day treatment plan in a secluded, minimalist cult-type compound. Of course all is not what it seems, and Clock fully leans into its horror genre.
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The idea of forced pregnancy has been explored often, most famously in Rosemary’s Baby. Clock is a modern take on the idea. Instead of selling a soul to a Satanist cult, Ella puts her faith in the idea of “wellness.” While the drugs she takes are meant to increase her hormone levels, the way Dr. Simmons’ program is packaged is far closer to the design of Hulu’s Nine Perfect Strangers. It’s the promise of a new and better life through a short stay at a perfectly curated resort. Matching minimalist industrial clothing, an ominous symbol, and sleek, modern rooms all give the impression of thoughtfulness, but that’s never the case, is it?
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Agron is likely most-well-known for her breakthrough performance as a cheerleader on Glee, but her recent forays into independent fare have proven that her skills go far beyond catty teenage antics. Clock’s unrealistic body horror is maintained by Agron’s grounding performance. Like the recently released Acidman, Clock puts its full weight in Agron’s hands. The pacing, plot, script, and production are all behind her, but it takes a strong, subtle presence to make the film’s concepts take off.
There are a few too many musical stings in the film to accompany small actions, like a balloon popping or a door opening. It’s likely meant to give the audience a jolt in their seats, but one almost wishes that Clock had been confident enough not to fall back on contrived means of horror. It’s antithetical to the rest of the film, which is deeply rooted in a specific type of trauma that doesn’t require an explanation. The film creates the stress and anxiety of motherhood by showing, rather than expositionally explaining. Clock is unsettling enough as it is without the musical stings and awkward jumpscares of The Tall Woman (Rosa Gilmore).
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Ultimately, as soon as one reads the synopsis, it’s clear what they’re getting themselves into with Clock. However, as the film unfolds, Agron’s performance and its deviations from expectations make the watch worthwhile. Sure, it’s been done before, but not like this and not with this sense of urgency.
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