The Babadook – great story but fails to deliver

Receiving critical claim since its debut at Sundance earlier this year, The Babadook looks like something different. A well-received horror with an emotional depth we don’t usually see in the usual annual release of clichéd-horror films. While it does attempt to be more, and at times succeeds, unfortunately The Babadook doesn’t live up to the eerie horror of the pop-up book it explains its monster to us in.

Amelia (Essie Davis) can’t sleep. Her husband died driving her to the hospital on the day their now six-year-old son Samuel (Noah Wieseman) was born. Left alone with Noah in a dreary house, Amelia struggles to remain sane dealing with her son’s social ineptitude and his constant fear of a monster lurking in his room. When a mysterious book arrives at their home describing the sinister monster Mister Babadook, Amelia finds herself starting to fear a mysterious force in the night.

Davis is great as Amelia, she could have easily defaulted to Jack Nicholson in The Shining and went completely bonkers, but instead she delivers her madness in a subtle but still sinister way. It’s a powerhouse performance that carries the film. Unfortunately Wieseman as her son Samuel doesn’t succeed so well. While never a bad performance we never truly feel his fear, and he’s not helped by some awful dialogue.

Horror films need a scary setting, and what more disturbing than a poorly lit old grim house. While it looks great (if a bit too obviously a studio) in the night time horror scenes, it’s hard to believe anybody would let their own home look this ugly. It takes you away from feeling like you’re watching a real film with real people, and from early on makes it all feel too purpose-built. Also given the fantastic design on the pop-up book, when the Babadook finally is seen through a neighbour’s window, he looks silly, like an emo in an ill-fitting jacket.

It shows ambition in story and if she can iron out some cheap looking moments first-time director Jennifer Kent could definitely create something great eventually, but unfortunately despite a well-designed poster and brilliantly designed pop-up book, it’s not The Babadook.

2 out of 5

Gone Girl – dem pesky women

I’ll never trust women again. Gone Girl twists the knife into the viewer’s expectations and leaves them feeling part of an indulgently sadistic ritual that they guiltily enjoyed. It’s full of greatness, and although flawed, is as much fun as one can have in the cinema.

In a sleepy Missouri town Nick (Ben Affleck) arrives home to find his wife Amy (Rosamund Pike) missing and signs of a struggle. Although lacking a body the police, public and media come to suspect Nick of murder. Amidst a circus of celebrity and motives, Amy’s diary reveals the history of her and Nicks troubled marriage. That’s all you need to know. To say anymore would only spoil the delight.

Adapted from Gillian Flynn’s novel by the author herself, and with David Fincher directing, great things were always expected from Gone Girl. Luckily it delivers, with Affleck and Pike brilliant in their roles. Again to say any more about why they are brilliant would ruin the surprise, but both rise to the occasion delivering deliciously dark performances that are a joy to watch. As always Fincher is on top form, with his usual accomplice Trent Reznor blending the perfect music to the scenes. Fincher makes what is very difficult look easy; he truly is a director on top form at the moment.

It does get a bit too ridiculous at times, with Neil Patrick Harris a bit of a misfire as an over the top rich but pathetic pawn, and some of the dialogue, particularly in the scenes where Nick and Amy first meet, feels as cringe-worthy as a Cecilia Ahern novel. They are small flaws though in what is otherwise a great film.

Great fun to watch and great fun to talk about after. A rare gift of a film that everyone should enjoy.

4 out of 5