In Birth/Rebirth, Laura Moss’ modern, feminist update to Mary Shelley’s Frankenstein, the resident scientist playing god is a pathologist named Dr. Rose Casper. Brought to life by Marin Ireland in a twitchy, unnerving performance, Rose doesn’t sew body parts together into a stitched-up abomination; rather, her method is specific to women’s bodies, pregnancy, and birth. A commentary on the disturbing limits of motherhood, the film’s origins in classical horror feel reinvigorated by its take on women’s unique ability to create life, and the sense of ownership and emotional attachment that goes along with maternity. However primed the subject matter is for a chilling tale of terror, the film’s characters remain underserviced by Moss and Brendan J. O’Brien’s screenplay, while the treatment of its central monster feels uneven. Still, amid all the many retellings of this classic tale of the Modern Prometheus, Birth/Rebirth remains among the most fascinating and full of potential, offering a gory look at the intersection of science and motherhood.

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