The Babadook

The Babadook has been making waves all over the place. So much so, that I feel the film has become a victim of over-hype. That's not to say The Babadook isn't any any good, but the glowing press creates expectations that can't ever be met. I even heard it said this was a top-notch possession film, which it isn't. A possession film, I mean. The Babadook is a psychological musing on grief.

Nearly seven years have passed since her husband's death, but time holds little meaning for Amelia. She lives day-to-day, nursing the raw, open wound left by Oskar's unexpected and violent passing. Her young son, Sam, reminds her too much of Oskar and Amelia has a difficult time loving her child. Into this unhappy home enters Mr. Babadook, a shadowy monster brought to life in a pop-up book. Sam insists the Babadook is real, which only angers Amelia, but even she can't explain or deny the strange voice she hears or the dread she feels at night.

The film is set mostly within the suffocating space of Amelia's house. As Sam is taken out of school, and Amelia looses her job, the movie turns inward cutting itself off from the rest of the world to focus on Sam and Amelia's growing psychosis. Journeys outside the home end badly for everyone and so the film takes on an enclosed feeling as Amelia becomes more withdrawn, shutting herself and her son inside their home.

The Babadook is a slow burn and, like Poltergeist, endings don't come easy. As a manifestation of her grief, the Babadook has power of Amelia, and she will be haunted by her husband's ghost until she can find it within herself to move on. More to the point, Amelia's tragic inability to let go is having a negative effect on Sam. If she can't get it together soon, she risks losing her son. But Amelia revels in her grief, identifies herself through her suffering, and letting go is scary for her. Scary like the Babadook.

The Babadook is more atmospheric than it is outright terrifying, although the film does reward the audience with a few glimpses of the monster. Most of the runtime is held over for exploring Amelia's and Sam's fractured psyches. Visual cues remind us of the ever-present threat of Mr. Babadook, while the look and feel of Amelia's home pays homage to the German Expressionism cinema of the early 20^th century. There's no intensified continuity here, no fast-paced editing or shakycam. The Babadook trades on stable camerawork, some clever effects, and a brooding pace that leaves time to think and worry about what will happen next.

The film's warm reception and glowing reviews earned it a special place on the Toronto After Dark programme: the closing gala. Having sold out in record time, the festival added a second late-night screening to accommodate disappointed horror fans. Most sold-out shows have one or two empty seats, but The Babadook played to a full house, which included the grandparents of Noah Wiseman, the boy who plays Sam. I hope they're proud of him.

The Babadook's praise is well-deserved but audience members should be cautioned against falling victim to the hype. I hesitate to suggest part of that hype has to do with The Babadook being helmed by a first-time female director, but the fact of the matter is there are few women out there making horror movies and so we tend to give special attention to those who are.

All caveats aside, Jennifer Kent has delivered a wonderfully crafted psychological horror movie full of atmosphere and suspense. If you're growing tired of jump scares and torture porn, have a look at The Babadook.

Re-Cycle

Truth be told, I haven't actually finished watching this movie.  And I'm not sure if I'm going to.  I like a slow burn as much as the next girl, but come on.

Ting-Yin is a celebrated novelist working on her new book, a supernatural thriller.  It's her first ghost story.  She's warned that writing about spirits can make them manifest but Ting-Yin isn't that superstitious.  But, sure enough, she begins to experience strange happenings in her apartment and gets sucked into a dark fantasy world.

...and that's as far as I got.

It's not that Re-Cycle is bad, it's just so slowly paced that it couldn't hold my attention.  The worst part of the whole experience is that the film is right up my alley: it's a creepy ghost story with a dark world of make-believe.  In fact, the other world is a lot like The Neverending Story's Fantasia crossed with the junk heap from Labyrinth.  There's even a Nothing-type thing that's slowly eating away at everything--it's the titular Recycle, a force that destroys the other world so its ideas can be remade in our world.

I really didn't get far enough into the film to comment on its themes and whatnot, but I suspect the film will eventually touch upon love, loss, and regret.  Ting-Yin was deeply in love once upon a time and then suffered terrible heartbreak when dumped.  Now her ex is back in Hong Kong and looking to reconcile.  Since the other world is largely composed of old ideas and things thrown away, there's a good chance Ting-Yin will eventually encounter some manifestation of her old lover.

But I'm just guessing.

I've seen a handful of Pang Brothers movies, which have been hit and miss.  The Eye I enjoyed and The Messengers was good up to a point (that point being Kristen Stewart).  But I thought Bangkok Dangerous (2009) was pretty dull.  Not a great track record for Oxide Pang Chun and Danny Pang, but maybe it's my fault for not choosing to watch any of The Eye sequels or Forest of Death.

Regardless, I'm a little underwhelmed with Re-Cycle even though I should be, by all accounts, in love with this movie.  It's even got a couple of good creep-outs, and the other world is wonderfully strange and dangerous.  The pacing, however, is just too slow and whatever forward momentum is gained by the introduction of the recycling force is halted by the film's and Ting-Yin's meanderings.