In this day and age, it is becoming increasingly difficult to find a quality horror film – probably one of the reasons why I don’t really write a lot on modern horror anymore.  Slews of uninspired remakes, found-footage shockers and less than impressive jump-scare flicks have plagued our cinemas in recent times and it isn’t very often a gem come along.

For those feeling jaded, enter Jennifer Kent’s local ware, The Babadook.  We follow the story of Amelia, a grief-stricken widow forced to care for her anxious and disobedient son Samuel after the death of her husband seven years earlier.  Samuel is constantly getting into trouble at school, causing conflict on the playground and fooling around with borderline medieval-type weapons (think slingshots, crossbows and the like).  Amelia struggles to manage her son and her own problems, including financial woes and the elitist attitude of her sister and friends.  As if things could not get any worse for her, she comes across a strange book in her house – ‘Mister Babadook’.

The climax of the film revolves around the consequences of reading the book to Samuel one night, resulting in night terrors, sedatives and intense nightmares about the ghastly creature scrawled in the gothic illustrations of the book.  We begin to question Amelia’s sanity and consider whether this is all a horrible dream, or a reflection of her subconscious mind.  Essie Davis’ Amelia fuels the narrative with sadness and volatility, while Samuel, played by an almost annoyingly fantastic Noah Wiseman, conveys a sense of naivety, reminding us of the overarching concept of ‘Mister Babadook’ as some sort of warped fairy tale. 

The plot itself is enjoyable yet questionable; there are times where a few short minutes feel like an eternity and Kent stretches the audience’s level of tolerance with her main characters.  The ending itself is disappointing and inconclusive.  The saviour of the film, at least in my eyes, is in the design.  Monotone, bleak shades contribute to the depressive nature of our protagonists, while the pale colours of the outside world provide a contrast between light and dark.  It is interesting to note that Amelia and Samuel live in the dark; the shadows, possibly.  It makes you wonder whether this is a reflection of the life they lead, so withdrawn from the outside world.

A thought-provoking, almost psychological horror, The Babadook plays upon our childish fears while delving deep into the human psyche and the effects trauma can have upon it.  While it isn’t the most brilliant film of its time, it does give hope to the genre and my faith in Australian horror.