another film that enforced my not wanting to be a parent. ever! anyway, at first I didn't want to watch it, because I hadn't read anything about it and hated its title, but I'm super glad I gave in. The desaturated color palette is nauseous and fascinating, contrasting with the dark grays and black. too long, though... 60min would have been enough.
Kent blends Shyamalanian domestic terror with something closer to Michael Haneke or Lars von Trier. The result is punishing; a brutal psychological drama disguised as supernatural mystery. Davis, so raw & compelling, holds the film together, but the stylisation is interesting as well, with the monochromatic colours & minimalist design suggesting a genre variant on Haneke's similarly suffocating The Seventh Continent.
Decent horror, but I felt like it missed a few here and there that could've resulted in it being a true classic. Would I watch it again? No. Was I entertained? Yes. I felt like no one really overacted here which can be the case in horror films sometime, and this added to the film. The metaphor for grief and what not is a cool idea but I was left wanting more. All in all, recommended. 3 stars
what a great surprise! i loved the mood of the film, the interiors are great, it's exciting to follow how the horror arises from the house, the colors, the lights and darkness. it was also a pleasure to experience how bad characters turn into good and vice versa. do you think, the mother wrote the book herself? p.s. great voice, Babadook! considering that it's director's first movie - 5 stars
A solid and very sincerely felt 4 stars on my part. One of the only horror films that offers a compassionate (albeit flawed) portrait of mental disability and one which I could relate to as a sufferer. Brave to allow the child to grate upon the viewer's sensibilities so that you simultaneously worry for him, yet also share experientially in his mum's frustrations. Only weakness is design of monster itself. Love this.
TV. It would be a beautiful film if there wasn't the tendency to pacify and normalize it in standard formal terms, as if in today's cinema there were no way out of significant currentness and indistinct repetitions. And yet something moves in this umpteenth variation of a haunted house and an endangered child, it would be enough to have believed more in its spaces and if time weren't so compressed.
Kent REALLY created an intense atmosphere with that kid yelling all the time - it made me wish for Babadook to appear way earlier to kill him faster. One star for making horror by flipping the pages of a book; another star for the metaphor: but if it wasn't that contemporary need to use ultra-high-hd-feast - making everything bland, it could have been a classic.
Good horror is about something other than scares, and this film excels at that, right to the credits. That said, the only actually scary part is when the book is first read. Any other parts featuring the title monster were dragged down by the stock sound effects and cliche setups. With more refinement, this could have been worth watching twice.
It was intense, creepy, uneasy. For a Psychology student like me this is a really great movie to watch. I don't usually overanalyze movies to this point but I think the Babadook was just a form for her (probably) PTSD - you don't make the "monster" disappear, you just learn how to live with it. Brilliant.
Horror cinema has its share of terrifying parent figures and creepy children—but in The Babadook, which was sent to torment which? One joy of this psycho case study is how the answer keeps shifting. Another is its use of color, where only the dark pops. Whether it has enough story to fill 90 minutes is debatable. But it's creepy, emotional, and the heroine's resemblance to Mia "Rosemary" Farrow can't be coincidental.
The Babadook is an Australian horror film directed by Jennifer Kent. The plot seems to follow a basic structure similar to other horror films of not believing in the monster, seeing it, and then getting rid of it by no longer being scared. However, the mother (played by Essie Davis) and her son (played by Noah Wiseman) both play powerful believable roles that make you sympathize with both characters.