Just when it seems like Godmother has revealed its big plot twist way, way too early, you realize there’s more to the story—a lot more. Ultimately, John Veron‘s debut zags whenever you expect it to zig, making this vacation horror movie a more worthwhile experience.
While overly attentive Airbnb hosts sound scary all on their own, they have nothing on the Martinsons. Of course, we just saw this elderly couple (Bruce Davison, Dee Wallace) burying a corpse in the movie’s first minute; Colby and Theo (Cameron Cuffe, Paige Evans) are clueless, as they show up for their romantic getaway. One in which Colby had hoped to pop the big question. However, there’s now a problem in the Martinsons’ plan after they learn Theo’s sister Katie (Riley Dandy) has tagged along.
Airbnb and homestay horror never became a whole new subgenre, unlike influencer horror. Godmother and its kind are simply a lateral move from vacation horrors of yesteryear; the rental method has changed, but the underlying sinister concept remains the same. Something is always afoot at these homes away from home, and quite often it’s the hosts who are culpable.
Our experience with these sorts of movies could be an issue, if you demand originality all the time. For those more merciful viewers, Godmother plays on expectations in the best way possible. Veron and co-writer Alanah Pearce provide some crowd-pleasing turns in their screenplay, all before delivering an exciting third act that sets this movie apart from most others like it.
Until we can reach that wild last leg of the story, we have to sit through a lot of interpersonal tension. Katie comes with her own personal baggage, which has a noticeable effect on Colby and Theo’s already-anxious relationship. Theo isn’t all that sure if Colby is The One, whereas Colby is uptight about Katie encroaching on his proposal (and she does so in the most intentionally annoying ways). Everything then comes to a head in a shouting match between the potential in-laws.
The abovesaid altercation doesn’t feel like it was earned, at least not time-wise. No, it was more like a necessary step to get the story moving. On the other hand, this being an all-in-one-night movie clocking in at under ninety minutes means there’s not a lot of room for organic development. You just have to make do with what you’re given, and thankfully, Godmother is able to compensate in other areas.
Once the ruse is up, and there’s no longer any mystique about the hosts’ intentions, Godmother coasts toward a certain yet satisfying ending. The biggest and best plot jolts are really behind us, but we can still enjoy the ride.
Your stay with Godmother will be determined by your love of expectations being undermined. Is the subversion enough to make up for anything else that’s not so novel? On the whole, what you think will happen does happen, but there are a few surprises here and there to help make that obvious endpoint more pleasurable.
Godmother premiered at Fantastic Fest 2026.
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