Unsettling, creepy exploitation movie. Highly recommended
This is a tough one to rate! In my opinion it's a movie that doesn't fall into the 'so bad it's good' category (like The Room), but it's not a bad-bad movie either. It has some interesting themes, it's very ambitious and was fairly entertaining at times (But mostly incredibly boring). The dialogue, the acting, the visual effects and the script is god-awful. Egyptian mythology is something I love and it was interesting to see how they tried put a fun action spin on it. But all in all it was just meh. Can't really recommend it to anyone unless you want to check out how they interpret old egyptian tales.
The marketing and trailer of the film suggested a horror movie with a creepy monster. That may well be the case, but this is not a conventional horror film at all - there is far, far more to this outstanding film than that. To say more would give away the plot, but clear hints as to the identity of the “Babadook” and how it fits into the narrative ensure the reveal and resolution are unsurprising. That, though, misses the point - here the journey the audience is taken on is so compelling that the reveal and resolution to the story don’t need to surprise. Essie Davies plays a single mother still coming to terms with the death of her husband and the young Noah Wiseman is her son who is exhibiting behavioural issues. They both give outstanding natural performances and the film is rooted in such verisimilitude that the introduction of the horror element almost feels intrusive. Not that this is unsuccessful either - the “monster’ initially lurks in the shadows, creating a palpable sense of foreboding and dread and the sound design of the film helps to emphasise this, creating some wonderfully creepy moments. Fortunately, rather than worrying about horror conventions and gimmicks to scare, the filmmakers explore far more gripping issues and concerns - that of a mother’s struggle to raise a child on her own and cope with unresolved grief, loss, isolation and helplessness. If there was a minor criticism, it is that the final act occasionally focuses more on the conventions of horror and suspense that had been so carefully balanced throughout. But this is a nitpick at best and doesn’t detract from one of the finest films of the year and a strong message that true horror is as firmly rooted in reality as it is in the supernatural and fantasy.
The friend zone has been taken to a whole new mechanical level.
