So everyone was urging me to see this cool new Aussie horror flick called The Babadook. I didn’t think it would be particularly good, to be honest, but the 98% rating on Rotten Tomatoes managed to persuade me in the end.
And wow, what a great horror movie. What a great Aussie movie.
The story, at least from the trailer, seemed kinda cliched. A mother (Essie Davis) starts to become terrified that the titular monster depicted in a pop-up children’s book she reads to her son (Noah Wiseman) might actually be real.
But fortunately, The Babadook is nothing like the typical boogeyman, monster-under-the-bed horror I had expected. While there is a handful of “boo” moments, the majority of the scares in this movie are psychological. It’s that eerie, uncomfortable feeling that creeps up on you and makes the hairs stand up on the back of your neck. There’s not much blood, and there’s very little use of computer-based special effects, and yet The Babadook is definitely up there as one of the scariest films I’ve seen for a very long time.
Another thing that sets The Babadook apart from most horror films in recent years is that the characters are actually well developed, meaning that you actually worry about them when something bad is happening to them. Essie Davis delivers a marvellous performance as Amelia, whose sanity appears to be hanging by a thread as her energy and patience is ground down to nothingness by her troubled son. Anyone who has had to deal with troubled children, or even normal children, will be able to appreciate what she’s going through and sympathise with her impossible predicament.
The way things begin to unravel for Amelia is executed with impressive skill, as one incident after another piles onto her despair, exhaustion and feeling of helplessness. She’s terrified not just of the Babadook, but of her own son, and even herself — or at least what she might do to him. That’s the brilliance of the film — for the most part, you don’t know whether the creature is a supernatural being, a real manifestation or her fears and anxieties, or just a figment of her imagination.
With this stunning debut, writer and director Jennifer Kent has set up what should be a career to look out for. It’s clear she knew exactly what she was going for from the very first scene, and the sombre color scheme she adopts really brings out the melancholy of the film’s tone.
What also stood out for me was the way Kent manages to un-Australianise the film. Not that there’s anything wrong with Aussie films per se, but the lack of strong accents and ambiguous settings do help open the story up to a wider audience and offer something that is more relatable to international viewers.
I don’t want to overstate the scariness of the film, because as we all know, bloated expectations can ruin even the best movies. My wife, for example, thought it was scary, but not that scary. Others have said they actually get more freaked out by cheap scares. That’s why I recommend checking it out so you can decide for yourself.
4.5 stars out of 5