The Babadook, film review: Craftsmanship and attention to character is a welcome relief
(15) Jennifer Kent, 94 mins Starring: Essie Davis, Noah Wiseman, Daniel Henshall
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.The Australian writer-director Jennifer Kent's bravura new horror pic combines subtlety and psychological depth with some very full-blooded shock tactics.
It boasts an exceptional performance from Essie Davis as a single mom, still struggling to cope with the death of her husband several years before on the day her child was born. The child (precocious newcomer Noah Wiseman) is a troubled and truculent boy, convinced a monster in a conjuror's cape and hat from a children's book called The Babadook is out to get him.
Davis shows the vulnerability and hyper-sensitivity that Deborah Kerr brought to her role as the tormented governess in the Henry James adaptation The Innocents. She also hints at the woman's rage and capacity for violence. On the one hand, this is a story about a grieving widow suffering from severe insomnia, whose mind is playing cruel tricks on her. On the other, it's an old-fashioned haunted house tale.
Kent ratchets up the tension and foreboding with the sound editing (even when characters are walking barefoot, the staircase creaks ominously). The daytime scenes, shot in pallid light, are often even more frightening than the nighttime ones. The film was executive produced by Jan Chapman (Jane Campion's producer). It has a craftsmanship and attention to character that comes as a welcome relief after too many sadistic, macho recent horror movies in the Saw or Wolf Creek mode.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments