Star Rating: 4/5
- Jennifer Kent – Monster
- Essie Davis – The Matrix Reloaded & Revolutions, Australia, Legend of the Guardians: The Owls of Ga’Hoole, Assassin’s Creed
- Noah Wiseman – The Gift
- Tim Purcell
- Daniel Henshall – The Snowtown Murders, Not Suitable For Children, These Final Hours, Fell
- Benjamin Winspear – The Last Goodbye, Breeding In Captivity
- Hayley McElhinney
- Barbara West
- Jed Kurzel – The Snowtown Murders, Dead Europe, Macbeth
In recent years, the ineptitude of the horror genre has been documented on this blog. The Woman In Black, The Possession and Mama did not induce enough fear into viewers and illustrated, to the point of a rule, that the horror genre has become a joke. Nevertheless, Jennifer Kent’s latest film The Babadook wonderfully proves otherwise and shows that the horror genre still has the power to terrify viewers.
The Babadook is a low-budget Australian movie. Amelia (Essie Davis) is a nurse/carer in an old people’s home by day and a single mother the rest of the time. Her son, Samuel (Noah Wiseman), is a difficult child who believes to the point of obsession that he sees a monster (the Babadook) in the closet. He creates improvised weapons to deal with the monster when the correct moment arises. At first, Amelia believes that Samuel’s unusually obsessive behaviour is not an in issue. But soon she realises, to her consternation, that a sinister presence might be lurking in the house…
The Babadook is a brilliant horror film that is sincerely scary. At its core, the movie is about a supernatural being haunting a house in need of renovation. But, amazingly, the movie does not fall into the current horror genre trope of quiet, quiet, quiet, quiet… BANG to quicken one’s heart rate. Instead, in a similar vein to The Shining and We Need To Talk About Kevin, The Babadook messes with one’s instincts and emotions in a very natural and unsettling way.
The director, Jennifer Kent, does this by four means: one, through the use of discomforting poetry; two, through the use of ethereal sounds like thud, dook and the crawl of insects to build tension; three, by creating a situation whereby a mother is as fearful for her child as she is fearful of her child (and his disturbing behaviour); and, four, by inflection by making both the mother and the son, in different ways, look more and more like the Babadook as the film goes on. All four of these factors are executed exceptionally well and ensure that one feels a knot gradually tightening in their stomachs.
Undoubtedly, one would not be able to feel this way if the two lead actors, Essie Davis and Noah Wiseman, had not put in such strong performances. Yet, at the same time, both actors have been privileged with richly complex, three-dimensional characters. For this, one must applaud Jennifer Kent for writing such believable characters and a brilliantly written script in general.
Nevertheless, the script (sadly) does not hold out for the whole of The Babadook’s 94 minutes. Arguably, the climactic scene near the end of the movie veers away from the direction that the film had seemed to be going down for more than three quarters of the film. This is a shame as the scenes near the end feel a little jarring and out of sync with the rest of the movie. In addition, the special effects look amateurish at times, which may undermine the scare element of the film. However, one should not put too much stress on these flaws because that would be to take away what is a delightfully accomplished horror film.
Over-all, The Babadook is a superb and genuinely scary horror movie. As a whole, the film is well-written, superbly acted, and deeply unsettling in a very normal way despite the supernatural element within the film. One might nitpick and say that the special effects are not great. Yet, at a time when the horror genre has become a laughing stock, Jennifer Kent demonstrates with The Babadook that there is more to the horror genre than the base (and boring) denominator of quiet, quiet, quiet… BANG, and that horror films still have the potential to scare people.