"This is some spooky shit we got here."
Anne Hathaway all the way up, down, to the left, to the right, inside, outside and every direction possible.
This started out very promising (the highly skilled and resourceful secret organisation), became complete and utter bullshit (turns out the secret organisation isn't that skilled or resourceful or influential at all. I mean, their Wi-Fi password is "Dracula" and some sleazeball of lawyer can can just waltz in and get Dracula out? Are you fucking kidding me???), made some questionable plot decisions and somehow managed to arrive at a rather satisfying ending. This show was all over the place and I don't know how I should find it. But clearly Moffat had lost his mojo for some time now. The last through and through good thing he wrote was Sherlock's "The Abominable Bride".
if you can't enjoy so much camp and festive promotion of whatever Ru throws at us... can you even call yourself gay
Jasmine's head in this freaking gold bag made me wheeze and I think of her piano skills daily... Chopin who
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.
