Tagged Snowtown

Cotillard & Fassbender in a Properly Haunting Macbeth

Macbeth. 2015. Directed by Justin Kurzel. Screenplay by Jacob Koskoff, Michael Lesslie & Todd Louiso; based on the original play by William Shakespeare.
Starring Michael Fassbender, Marion Cotillard, Paddy Considine, Lochlann Harris, Lynn Kennedy, Seylan Baxter, Brian Nickels, Hilton McRae, James Harkness, Ross Anderson, David Thewlis, Sean Harris and Elizabeth Debicki.
See-Saw Films/DMC Film/ACE/Film 4/Creative Scotland/Studio Canal.
Rated 14A. 113 minutes.
Drama/War

★★★★★
POSTER You either love Shakespeare, or you haven’t got any time for him. That’s just the way it goes. I’ve never met anyone who says “Oh yeah I read a bit now and then”. You read Shakespeare plenty or don’t give a shit. Honestly. He’s one of those acquired tastes. I’ve always enjoyed his work because of the death, the mystery, intrigue, all the murder and deceit and disguises. Shakespeare wrote such wild and exotic stuff, it’s just hard to crack through some of his dialogue if you don’t study it. And that’s why I think you either love him or hate him. Bottom line.
Justin Kurzel came on with an amazing debut, Snowtown, which is based on the real serial killings of Australian murderer John Bunting. That was one macabre yet compelling films. It almost dulled the violence and atrocity to a point where, by the end, you’ve nearly become bored by it. Yet somehow the story, the people involved and those caught up in Bunting’s whirlwind of murderous impulse, it all keeps you interested. So here in Macbeth, there’s a certain aspect of the titular character which parallels that whirlwind feeling. Not in the same way. But the play is of course called Macbeth. We can’t forget about Lady Macbeth, whose power is almost without rival, as well. It’s the attention paid to the characters themselves, which Kurzel did so well in Snowtown, that makes this Shakespearean adaptation thrilling and worthy of respect. The look and feel of the entire film is amazing, the acting even better. But best of all is the resonance Shakespeare’s words still have today, on film, and how Kurzel manages to give us a wonderful take on the source material with a simultaneously beautiful and grimly captured vision of that fearsome Scottish play, so they say in the theatre.
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Macbeth (Michael Fassbender), Thane of Glamis, receives a prophecy from a trio of witches, which tells him one day he will become the King of Scotland. Succumbing to his deadly ambition, his own manifest destiny, and driven to action by his equally power hungry wife Lady MacBeth (Marion Cotillard), he murders the current King, Duncan (David Thewlis).
However, after the deed is done Macbeth becomes wracked with paranoia, guilt, fear. He slowly starts to unravel, right from the beginning. Likewise, Lady Macbeth finds herself similarly plagued as her husband. Their murderous, power mad impulses don’t stop there. Later on, she takes to sleepwalking, a living effect of her and her husband’s crimes. Their lives become that of a King and Queen, but their climb to the throne is marred with blood and stained with betrayal.
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The atmosphere of the film all around is incredibly well crafted. Immediately the battle scenes take you into a world torn by war. Those sequences are wrapped in fog, slow motion moments which wrap you up inside them before moving to a different, exciting shot. Another aspect of this film I loved: the editing. Specifically I thought the way they did the coronation scene was perfect. Macbeth switches back and forth between observing the people chanting for him and the night where he stabbed King Duncan to a bloody death in his bed; on top of that, Fassbender looks almost sickly already with paranoid guilt, which makes things all the more powerful. There are a ton of instances where editing provides us with that kind of impact. Editor Chris Dickens has done a few solid movies like Slumdog MillionaireHot FuzzShaun of the Dead, but I would say this is absolutely his best work to date.
Then there’s the combination of an epic score from composer Jed Kurzel, whose best work is found in Snowtown and Dead Europe, along with gorgeously captured cinematography by Adam Arkapaw who has done impressive things on True DetectiveTop of the LakeLoreSnowtown and Animal Kingdom. I love how the cinematography captures both the exteriors so vividly and in a sort of morbid light, then all the interiors are in the depths of the darkness, only lit up rarely. Films always impress me when they seek a shadowy look and tone while also keeping that quality throughout, not just in the literally shadowy scenes. It isn’t easy, but Arkapaw has a talent for that quality.
These two elements together, beautifully composed shots with a grim tone and a score that goes from an ominous lull to a crashing roar, fuse into what becomes a shadowy nightmare of paranoia, guilty thoughts, and plenty of brutality. These are masters at work. Jed Kurzel’s music haunts us in certain scenes; always lurking, sometimes crashing down on our heads and ripping us from our moorings. The visuals Arkapaw help Justin Kurzel direct us through a heavy, brooding adaptation of Shakespeare.
Macbeth: “I am in blood, stepped in so far.”
I read a review recently that said Michael Fassbender was boring as Macbeth. Serious? The frailty, the fragile nature of the character which he brought forward is stunning. In similar fashion, Marion Cotillard also conveys the madness of Lady Macbeth so well. They’re each fitted for the role. I don’t see how Fassbender was boring, nor can I see anybody complaining about Cotillard. For his part, Macbeth comes across as violent, ruthless and full of mixed emotions, but he is essentially a puppet. Not saying Lady Macbeth is the root of all the problems, she didn’t literally make him kill Duncan. But Macbeth is not the strongest one. Lady Macbeth is. She has all the ambition, it simply has to flow through Macbeth himself. They’re both fragile, but Fassbender brings out the weakness of Macbeth strong and evident, which allows us to see the power of Lady Macbeth, relegated to the title of his wife. She is the one in charge, because she has to be. Macbeth is almost a statement on these war weary souls who live only to fight, to become King, to rule with power; they’re all fuelled by their ambition, but through a stronger outlet. Often, it is their significant other. For Macbeth, it is the Lady Macbeth who fuels his quest to power. They both do themselves in, she only started things out with their private talks. She feels the guilt just as much. If not more. Fassbender and Cotillard bring to live to well-worn stage characters, transforming them into dreadful, amazing film characters.Macbeth
For me, a flawless adaptation of Shakespeare. It doesn’t have to have everything the original had because this is version of that Scottish play. But this 5-star film has Justin Kurzel directing the hell out every last frame, giving us a view into the paranoia and guilt of both Macbeth and Lady Macbeth with intensity, savagery at times. The entire film is a haunted portrait of madness. Michael Fassbender and Marion Cotillard are both engaging, as well as powerful in their own respect. And there’s also Paddy Considine of whom I’m a big fan, he brought his talent to the table here in an unsettling way.
Old scenes are given brand new life in this retelling of William Shakespeare’s (arguably) most famous work. The atmosphere and mood of the entire piece is so thick, so rich you could cut it through with a knife. Absolutely a Shakespearean adaptation worth seeing. Can’t wait to snatch this up on Blu ray.

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Disturbing Horror for Halloween Season

There are tons and tons of disturbing horror movies out there. I’ve seen plenty of them, but the titles on this list are some of my favourites. Not saying these are the most extreme, the most hardcore, I’m not touting these as the most disturbing horror movies you can watch. Simply, I think these are a good dose of movies running the gamut from thematically disturbing to graphically disturbing, to downright weird.
Without further rambling, here are my picks for a bit of wild horror to throw on this Halloween season, if October really has you feeling like you need to test your limits on film.
Enjoy…?


Possession (1981)
ecfslbxawaseotypjpcl3ibd2prFor my full review and discussion, click here.

The title says it all.
This is probably the strangest erotic horror-thriller you could ever imagine. Even saying erotic horror seems strange, but god damn if this is not full of both horrific and at times erotic imagery.
You could say this is a character study of two people in a relationship and what the ideas of possession mean for both involved.
To say any more would be to truly give things away. Honestly, go in knowing only a very basic plot – a couple falls apart as the wife seems to be having an extra marital affair, which proves to be something far stranger. Just know that when the horror hits you it is going to smash your face into bits, it may even rock you sexually in the worst kind of way imaginable.

Inside (2007)/ Trouble Every Day (2001)
inside-1 You can be guaranteed that if Beatrice Dalle is in it, I’ll watch it! So here is an excellent Dalle double feature which you can indulge on Halloween to scare the wits out of you.
First up is the 2007 home invasion horror-thriller Inside, directed by Julien Maury and Alexandre Bustillo who also directed 2011’s Livid which was on another list I did for this October. This movie is just all out horror and highly female-centric: on Christmas Eve, a pregnant woman alone at home is attacked by a mysterious woman intent on getting inside the house, as well as inside that belly. If you’re pregnant, you may want to avoid this movie honestly, or if you’re super sensitive. Because this horror escalates, from a mild creep to a roaring scare. Be prepared. Also, this whole movie’s drenched in blood and gory bits. Excellently disturbing stuff!
Trouble-Every-Day_1 Second comes auteur director Claire Denis’ version of the cannibal film, Trouble Every Day. Starring Vincent Gallo and Beatrice Dalle, this is the story of sexual cannibalism in humans, as opposed to insects; starting with a husband and wife travelling to Paris for their honeymoon, the husband investigating a strange clinic, and ending with bloody horror. Hard to explain any of the ins and outs, I’d rather not ruin it any more than I already have with this explanation. Either way, Denis is a master filmmaker, someone of whom I’m a huge, huge fan, and this is a really gripping, unsettling movie out of her works. You won’t be sorry. This is disturbing, but it does have a great script held up by a couple solid actors like Gallo and Dalle in particular on whose shoulders the movie ultimately rests.
This is a solid double feature, which really shows off Beatrice Dalle’s talents. Also, it touches on two pretty touchy elements of human nature: pregnancy and sexuality.

The Devils (1971)
THE DEVILS - American Poster 1For a full review, click here.

Maybe this might not be totally considered horror. Honestly, though, if you don’t find Ken Russell’s The Devils horrific I’m not sure how your brain operates.
Both Oliver Reed and Vanessa Redgrave give terrific, agonizing performances in their own right; Redgrave particularly gives a transcendent performance full of religious fervour and Satanic mania.
If you’re going to see this, you need to be able to see it uncut, in its entirety, as even while the most attainable version out there is pretty wild, the uncut version of this Russell masterpiece is unbridled psychosexual horror in its finest.
Just to give you a taste: there’s a scene known as “The Rape of the Christ”. Craziest part is that this whole film, the story and its plot, is partly based on a real story. Need a nice dose of disturbing religious horror? You found it in Russell.

Three… Extremes (2004)
50aee982-8647-40fa-9644-e45f71fc4f42-3_Extremes With three short films in one, this entire anthology only runs around 118 minutes, so you’ve got a great triple feature for the price of one!
Starting off with Dumplings, from Fruit Chan, the Asian horror gets churning with the story of an ageless woman who makes her signature dumplings for other women attempting to capture the elusive fountain of youth and its secrets. Hint: there’s something in the dumplings that ought not be there.
Cut by director Chan-wook Park is the tale of, funny enough, a film director and someone with a grudge. With a trap-like setup surpassing the interest factor of anything Saw ever had to offer, this short is sadistic and incredibly intriguing.
Finally, the short titled Box comes via notorious (and awesome) Japanese director Takashi Miike. I’d like to say a little, but would rather not spoil anything. Let’s just say it involves two sisters who were contortionists, they belonged to a carnival of sorts doing a trick involving a box, and then something bad happened at the carnival. No more, or you’ll know too much! Go in knowing only this: Miike is disturbing, if you’ve not seen his other work you should maybe get ready for a tense ride. Though, each of these shorts has their own test, I find something unsettling about Miike’s approach to stories, like he knows something the rest of us don’t.
Great watch if you don’t mind subtitles. It’s a really disturbing film all over, but Dumplings and Box particularly have always stuck in my mind.

Henry: Portrait of a Serial Killer (1986)/ Tony (2009)

For my full review of Tony, click here.
For a full review of Henry: Portrait of a Serial Killer, click here.
1990-henry-portrait-of-a-serial-killer-poster1 You’ll always hear about John McNaughton’s 1986 shocker when realistic horror is being discussed – raw and savage, Henry: Portrait of a Serial Killer is one of the most unflinching portrayals of serial killers on film. With a central performance rivalling some of the best in horror, Michael Rooker embodies the loose, fictionalization of real life serial killer Henry Lee Lucas; also included is the recently deceased and wonderful Tom Towles as another loose fictional version of Lucas’ actual partner for a time, Ottis Toole. The very brutal and simplistic style McNaughton uses only serves to unsettle the viewer with such an up close and personal view of the inside of a serial killer’s mind and world.
poster23 years down the road, after the release of the McNaughton cult classic, filmmaker Gerard Johnson gives us Tony – another film loosely based on a real killer (this time it’s British murderer Dennis Nilsen the Kindly Killer), this 2009 dramatic horror follows the titular character, Tony: on the spectrum, he is quiet, shy, lonely, disaffected and disassociated. However, at home, Tony cuts up the bodies of those he kills, draining their blood down the drains and the toilet, putting body parts and organs into plastic bags which he later casually dumps into the Thames. The reason Tony is so chilling, and why it’s a great double feature with McNaughton’s film, is because the movie takes us right behind the eyes of the central character – the at times sympathetic yet horrible killer – and never once do we make our way out of his perspective. At certain moments, the film is a slow burning character study; at others there’s an ominous sense of terror. Either way, you’ll be surprised as the film goes on just how depraved this quiet man in his council flat is deep down underneath his unassuming exterior.
Put these two films on – one American, one British – you’ll get an interesting look at the two sides of one coin. Dive into the darkness of the murderous mind!

The Last House on the Left (1972)
the-last-house-on-the-leftFor a full review, click here.

With the lofty goal of making a horror-thriller version of Ingmar Bergman’s The Virgin Spring, itself based on a medieval Swedish ballad, Wes Craven (R.I.P) – at the time a self-professed young and angry man – brought a new style of horror to the screen. There were certainly disturbing movies before 1972, however, Craven effectively brought the ‘rape-revenge film’ to the spotlight with The Last House on the Left.
The first time you see it, something will happen. Regardless whether or not you think Craven’s movie is excellent, mediocre, or not worth the time of day, you cannot deny there is most certainly a lasting impact. After you finish this one, there is a part of you that won’t ever feel the same. I can guarantee you that. Even as, what I’d like to think is, a hardened horror veteran, having seen literally 1,000+ horror movies, there is still consistently something truly disturbing about this one; I own it on Blu ray, though, it doesn’t get played much. Only when I’m looking for a true shock do I throw this on. You may never want to watch it again, but give it one go this Halloween. You may just lock your doors and forget all about the trick or treaters.

Snowtown (2011)
snowtown-1-posterFor my full review, click here.

You may notice the prevalence of movies based on true stories over the course of this list. And here’s another: based on The Snowtown Murders in Southern Australia, Justin Kurzel’s Snowtown focuses mostly on the budding relationship between serial killer John Bunting and one of the sons of a woman he dated at the time of the killings.
A lot of reviews and comments on the internet have stated they find the movie boring, either it’s too slow all around or they feel as if nothing much spectacular happens over the entire course of the film. I just don’t get that. This is a deep character study, once more akin to the earlier Tony/Henry: Portrait of a Serial Killer, and we not only step inside the perspective of a serial killer, we’re bound to the perspective of Jamie – the son of Bunting’s quasi-girlfriend at the time – who did commit horrific acts alongside Bunting in real life. Here, the character of Jamie is mostly seen as sympathetic, both being abused by his half-brother and manipulated by Bunting, and through him the audience is able to both understand and be horrified at Jamie’s new life. Bunting is played amazingly by Daniel Henshall in what is – as far as I know – his first film role specifically; the performance is subtle and extremely unnerving. The whole movie is very involving, if you can forgive it’s at times slow pace. In the end, you’ll be thankful if looking for a disturbing horror, because this is one that really left its mark on me. I’ve forced myself to watch it a couple times and there are scenes in Snowtown burned into my brain; things I don’t necessarily want to see or think about, yet I’m drawn to, as the dark side of reality truly comes out in Kurzel’s film.

Excision (2012)
excision-poster1Anyone know AnnaLynne McCord? I didn’t, until this wonderfully macabre and disturbing bit of cinema. When I found out who she was, what she normally looks like, I was immediately impressed with her performance in this film – not only does she do a great job in her role, McCord physically transforms into another person. To say anything much would ruin the surprise, the sick, disgusting joy you’ll eventually take out of seeing all the nasty visuals of Excision come alive before your eyes.
Basically, this is the story of a young girl’s becoming – she is turning into a woman, mentally, physically. Yet the bloody beginnings of womanhood translate into something entirely different for this high school girl. She fantasizes about crimson waves, organs, tortured and mutilated male bodies, and so much more.
I’d never seen this movie, yet picked up the Blu ray because I found the description of the film, as well as its cover art, extremely intriguing. There’s not only disturbing horror here, the screenplay is full of sass, wit, and oodles of black comedy. Plus, John Waters, Ray Wise, and Malcolm McDowell all show up, so how is that not awesome? Choose this if you want to shake up your expectations, just make sure your stomach isn’t weak because a few moments in this movie really pushed my limit and that rarely, if ever, happens. Still, I love it and could actually throw this nasty little shocker on any time.

Grimm Love a.k.a Rohtenburg (2006)
grimm_loveFor my full review, click here.

Back once more are we to the reality of killers, the depraved and sick, twisted individuals lurking out in the material world, not simply characters banished to the abstract realm of film and television. 2006’s Rohtenburg (English title: Grimm Love) examines, not using the real names, the case of Armin Meiwes who was arrested in 2002 after police discovered he found a man on the internet, a willing participant, to eat; together, they attempted first to eat his penis together, after which Meiwes killed his companion, quartered him up, ate pieces and stored the rest in his deep freeze.
There’s a romantic aspect to the main characters of the film, mirroring the real life pair – even within all the sickness, the cannibalism, each of them and their intensely depressed states, these two men connected on a level most of humanity will never know. Still, no matter their intentions, no matter their feelings after meeting one another, these two men were fatally damaged, eternally flawed. While there aren’t too many graphic bits here, it’s the emotionality and intensity of the plot which makes things disturbing, very real. If you’re able to handle such a wild ride into some of the more twisted aspects of the damaged human psyche, then I suggest Grimm Love as an interesting way to spend an October evening.

Audition (1999)/ Contracted (2013)
audition-cover2 I want to preface this double feature by saying evil comes in all shapes and sizes, all forms, all ways.
The first of two evils is Takashi Miike’s Audition; not surprisingly, Miike shows up twice on this list, first in Three… Extremes. This 1999 psychological-horror starts off with a recent widow looking to start dating again, so with the help of a friend in casting he arranges to interview (or ‘audition’) women to become his new partner. However, after meeting the supposed new woman of his dreams, the man comes to discover she is not whom she appears to be at first. Beginning with a vague romance, this Miike film typically devolves into pure madness, controlled, but madness nonetheless. With some of the most unbearable torture in film history, this is not simply “torture porn” (hate that label; read other reviews to find out why). Rather, Miike brings psychological fear to life – from the fear of meeting someone new, to the thought of losing someone you love and having to start life over again – as well as touches the deepest, most visceral nerve possible in each of us.
contracted-posterFrom the story of a female torturer, we move to Contracted, starting its vicious and horrific descent into psychological/body horror with a cold and ruthless act committed by – this time – a man. People criticized the marketing of this film because it says “one night stand”, when clearly the young female lead is actually date raped at the start. However, unless I’ve not heard all there is in terms of press, I don’t think it’s intended this is meant as a LITERAL one night stand; merely, the tagline says “Not your average one night stand” in a dark, acidic way. Because once you get into this movie, you’ll realize England is trying to make you uncomfortable. Not simply for uncomfortableness sake: there is legitimate horror here. There are bits of David Cronenberg in here, with all the attention paid to the lead character’s body deteriorating after obviously having contracted a virus from the man who date raped her. Even more than that, I think England makes a few highly poignant points about the male mind, in terms of both the man who raped the film’s lead and the man who pines for the lead’s attention. I won’t spoil anything else.
This double feature is bound to leave you shocked, in awe, and maybe not in any kind of good way. Miike’s Audition came before the golden age of online dating, so I imagine it might touch more nerves today than even when it came out 16 years ago. Moreover, Contracted is the Eric England rape metaphor film we never knew horror could produce (the sequel leaves much to be desired) and while it has things to say the most of its power comes from the cripplingly nauseating visuals. If you want a downright unsettling double feature for Halloween or leading up to the special night, this one may be your Holy Grail.

Sleepaway Camp (1983)
Sleepaway-Camp-Poster By now, most anyone who is into slasher horror movies, even in the slightest, has definitely heard of the 1983 classic Sleepaway Camp. Not just that, they’ve definitely heard of, or have seen, the outrageous and terrifying twist finale. I will not spoil anything in the way of its big gem.
What I will say is that this movie is one of those genuine ’80s-era slashers which is deserving of its cult following and infamy. It isn’t perfect, nowhere near that, however, I’m a firm believer this is one of those top notch slashers simply because I NEVER ONCE SAW THIS TWIST COMING! I mean, fuck M. Night even on his best twist endings, this one is the RULER OF ALL TWIST ENDINGS. Sorry, I love Memento, I love The MachinistThe Sixth Sense was a whopper in its day, and there are plenty others… but SleepawayfuckingCamp just rocks all of them out of the water. Say no more. Want a good dose of by-the-lake horror and a finale that will haunt your dreams? You’re welcome.

Antichrist (2009)
1.inddFor my full review, click here.

Lars Von Trier is a name you can say in a room and find a hundred different opinions about from just a couple people: some think he’s trash, others (mostly those who’ve only seen his recent two-part Nymphomaniac) say he’s a pornographer, then there are those of us who think he’s full of unbridled, unadulterated genius. Sure, he doesn’t always hit the mark, but what filmmaker ever has? Not a single one in history has made a full catalogue of perfect movies. But Trier, each and every time at bat, steps up and delivers something, at the very least, worthy of endless hours of conversation.
His 2009 film Antichrist is the study of many things: misogyny + misogyny’s affects on womankind, relationship dynamics, parenthood, as well as so much more thematic material. Containing two of the bravest performances I’ve seen in the past 10 years, both Willem Dafoe and Charlotte Gainsbourg are captivating. Most of this movie touches on subject matter and themes many will find, in moments, almost reprehensible – from genital mutilation on the part of men and women, to the death of a child while his parents have sex. It isn’t all provocation and in your face, nasty horror, Von Trier touches at the heart of issues in all his films, whether people wish to recognize it or not. No matter what, Antichrist will pull you in, chew you up, then spit you out. Then lap you up and chew some more until all the grizzle of your brain is digested. You may never ever forget these 108 minutes, no matter how hard you scrub that grey matter.

Calvaire (2004)
calvaire If you weren’t sufficiently disturbed and left sleepless by Lars Von Trier, I present to you the final offering of my list: Fabrice Du Welz’s 2004 psychological horror-thriller, Calvaire.
The movie follows a struggling entertainer, a singer named Marc, whose latest and slightly sad tour takes him out into the backwoods of Belgium. When he breaks down, Marc comes across an inn through the woods, owned and operated by a Mr. Bartel, the seemingly friendly and welcoming host. After the first night, though, Marc discovers Bartel is not as friendly as once it seemed – the man first stalls on fixing Marc’s vehicle like he promised, then when he tears the battery out and other parts, it’s very clear Bartel is up to something more sinister. Trapped at the inn, Marc’s journey falls quickly into a darkness he could never have anticipated, not in a million years, and the stay at Bartel’s inn transforms into a fight for survival.
This is another one I purchased blind on DVD, not knowing anything more than the description and reading a couple reviews online, as well as based on the neat cover art. When I first saw this, I was completely floored and still, even when I’m in the right mood, Calvaire is full of uneasy moments. There’s a slow burn quality to this one and things don’t jump right out, often the pace is snail-like, yet if you can make it through and continue to watch up to the end of the finale. you’ll be well rewarded in terms of disturbed emotions. And after all, that’s why you came to this list, right? Welz’s shocking psycho-horror is full of chills, thrills, and unwanted uncomfortableness. Watch, but only if you dare.


Here ends another list for the Halloween season! I hope those of you who’ve come to find something fittingly full of shocks and super nasty will walk away satisfied. I’m sure many horror hounds have at least heard of all these, most likely they’ve also seen them, too. If you’ve got any of your own suggestions, at 4,100 films watched it may have been something I’ve already seen – regardless, I want to know what everyone else finds disturbing and what you’re watching to get the creepy October-Halloween vibe happening. Let me know in the comments what you think of the list, or if you have suggestions for other nasties I should include in my own viewing list this season.
Cheers!

Mr. Babadook & the Horror of Single Parenthood

The Babadook. 2014. Directed & Written by Jennifer Kent.
Starring Essie Davis, Noah Wiseman, Daniel Henshall, and Tim Purcell. Entertainment One.
93 minutes.
Drama/Horror/Thriller

★★★★★

This movie certainly has been hyped up a lot as of late. Several critics who’ve written about it all seemed to enjoy it a great deal. Most recently, William Friedkin (for the uninitiated – the legendary director of classics such as The ExorcistSorcerer, The French Connection, and Cruising just to name a few) said he’s “never seen a more terrifying film than The Babadookit will scare the hell out of you as it did me“. If that isn’t praise of the highest order, I do not know what is – the director of one of the most, arguably the most, scary film of all time basically said this film is going to give you nightmares.593500.jpg-r_640_600-b_1_D6D6D6-f_jpg-q_x-xxyxx
While I don’t disagree whatsoever with anyone saying this movie is an absolutely terrifying piece of modern horror, I sometimes wish people wouldn’t hype up a film too early before people are able to see it. Not that a film such as The Babadook can’t handle the hype – on the contrary, this movie can eat your soul if you let it. There are times hype can often dull a person’s opinion going into a viewing. Unfortunately, we live in modern times, and such a life, without hype, really no longer exists.
But like I said, The Babadook delivers what the hype has promised. In piles.

Jennifer Kent wrote and directed this film about a recently widowed mother Amelia (Davis) whose late husband died in a car crash while they were on the way to the hospital for her to give birth to their son, Samuel (Wiseman).
Smash cut to 7 years later. Amelia and Samuel aren’t exactly having an easy time with things. Even auntie Claire doesn’t seem to want to be around Sam; everyone thinks he’s weird. Soon, he has to be taken out of school awhile because of his behaviour. Sam doesn’t sleep much anymore. He also starts building weapons to fight off monsters. One night, Sam asks his mother to read him a book; it’s a strange looking, red velvet-ish covered book called “Mister Babadook”, and is filled with strange, twisted imagery. Try and try as she might, Amelia cannot seem to get rid of the book. Her first inclination is that somebody may be stalking her and Sam. Eventually she realizes there are more sinister forces at work.

579632.jpg-r_640_600-b_1_D6D6D6-f_jpg-q_x-xxyxxThe plot of The Babadook is really great because it poses as something we’ve seen before yet when things get down to the nitty gritty, this film stands out on its own.
The story is essentially about the darkness of our own minds; fear, guilt, rage. For instance, you always hear the best things about motherhood – aside from throwaway jokes, you never hear moms, especially a relatively new mom, talking about how terrible it can be sometimes when you’re alone, on your own, just you and a screaming, inconsolable child. Kent explores the frightening territory of such stories.

I don’t mean to say Kent is trying to make it seem like all mothers have homicidal thoughts concerning their children or anything. The Babadook is a story that comes down to the dark side of human nature.
The ending, though I won’t actually give it away, is a perfect example of how Kent uses Mister Babadook as a type of metaphor for the darkness and the ugly parts we hide; the things we stuff down, but eventually can, and will, boil up, and maybe even burn somebody. In the last scene when Amelia comes up from the basement and meets Sam in the backyard, her son asks how it went, to which she replies something along the lines of “not as bad today”. Sam looks brightly at his mother with a smile on his face, looking proud, and says “it’s getting better mum”. Right there, you can see how the ending (the basement, et cetera) is a metaphor concerning the darkness, the grief, all the rage and bad feelings – you can never get rid of it (just like The Babadook), it will always be there, however, you learn to live with it, you lock it away, feed it now and then, and go on with your life.
xAnhFfFFXzWfDLd3um3ufTgGTqwOr maybe it’s just a scary movie about a creepy, supernatural figure like something out of a German Expressionist film from the 1920s or 1930s. Who knows. Jennifer Kent wrote it, not me. Although I like how I interpreted it – works for me.

One of the things I really enjoyed was the acting on behalf of Essie Davis. She knocked out a powerhouse performance here. Without a strong female to play the lead here, the film would not be the same. Had a lesser actress been trusted to hold this up, I’m not sure it would have the same effect. She was spectacular. Previously I’d only seen her in the TV adaptation of The Slap. Here, she really impressed.
And honestly, I have to say the same for little Noah Wiseman who played Samuel. There were times I felt his terror was genuine. His face is very expressive. A lot of people online seem to give the consensus they were annoyed with his character; me, I loved it. He was at times the innocent looking little lad Kent wanted him to be.  Others, he was able to convey pure terror and a lot of emotion. Good job on his part.

Another couple noteworthy aspects of the whole production I love include:

– Jed Kurzel’s score: this guy has fast become one of my favourite composers in film as of late. His often quiet, rhythmic scores are beautiful accompaniment to the movies he works on. Previously I’ve really enjoyed his scores for SnowtownDead Europe, and now of course The Babadook. There’s something about the way he scores which makes the music feel like an undercurrent to the film, carrying it along the way a proper score should, and adding to the intensity of emotional or scary moments. The score in this film was a nice and subdued addition I really thought made some of the frightening scenes work even better than expected.
– The look of Mister Babadook himself. The very first time we get a bit of a glimpse at him, I was jarred. As I said before, there’s certainly an element of German Expressionism from the early 20th century in there (think The Cabinet of Dr. Caligari), which of course I really dig. Looks a lot different than most anything you’ll see nowadays. Instead of going for some demon-like creature, or a monster, Kent opts for a human-looking being with a sort of top hat, long black coat, and eerily long fingers. The face is what really gets me, and I think that’s the part that really reminds me of Caligari specifically. Even the way Babadook moves (the part where he descends upon Amelia in her bed from the ceiling scared the life out of me) reminds me of an old silent film. Very, very creepy.
xmister-babadook-cauchemars-denfance-retour-L-AX1jhX.jpeg.pagespeed.ic.trSDdhaTQmpaBv0qiDZhOverall, I don’t hesitate in giving Jennifer Kent’s The Babadook a raging 5 out of 5. There’s nothing wrong with this movie. While I could’ve done without one part later in the film (a very brief moment in the basement where Amelia throws up; I felt there wasn’t much need of it really is all – not a dealbreaker by any means), everything is absolutely flawless. I can’t find anything I did not like about this film. The suspense and tension was there – that’s one thing I always love in a great horror. If there isn’t any sort of build, no tense moments leading to a greater fear, there’s just no way I’m going to really be genuinely creeped out, and certainly no chance the film will scare me to death. And that is what I’m looking for – I want to be frightened beyond belief.

The Babadook really scared me. There’s no blood and guts. In fact, there are only very quick shots where any blood or anything similar is shown. With this film, what you’re signing on for is truly psychological terror. This isn’t about death here so much as it’s about fear – it’s about the darkness in our hearts, in our minds. This film succeeds in bringing the darkness. Mister Babadook is a horror legend already, as far as I’m concerned. Kent really did a fascinating and unsettling job with this horror. Cannot recommend it enough to do the film justice.
The Babadook is now available on VOD through Amazon and iTunes, as well as finally on DVD and Blu ray.