One of the Elites of Modern Horror Film

Rating: 9/10 (25 May 2017)

The Babadook, masterfully directed by Jennifer Kent is one of the best horror movies of recent years--possibly of recent decades. In her stunning directorial debut, the Australian Kent shows not merely promise as a filmmaker, but the kind of rare talent that seldom shows through this strongly so soon. Creepy, tension filled, and mostly free of tired horror clichÃ©s, it is something special.
The film stars Essie Davis in a terrific emotional turn as Amelia, a widowed mother still years later in a funk of despair over the loss of her husband, in addition to having difficult young child Samuel, played by Noah Wiseman. Samuel talks of dark subjects, makes weapons, and is prone to violent outbursts; he gets suspended from school and causes his devoted-if-emotionally-distant mother barriers with among others her sister and a potential love interest, and society generally. As they become more isolated from society, things get stranger and more distressing in their home, especially when what appears to be a kid's pop-up book, that Amelia can't recall seeing before, called The Babadookâ€”those pages are a terrific artistic creation in themselvesâ€”is discovered, and when read is found to be nothing innocent at all. It builds on a spine-chilling atmosphere with events and details, one and then another, very effectively, and hits the viewer with along the way moments of startling fright that add to but never overshadow the main situation. Motivations for certain acts aren't always clear, but that only adds, not detracts, from the overall effect.
This is in the running for my favorite horror film since the turn of the century: a genuinely scary film with a great pacing, two strong lead performances, and enough originality to keep it interesting throughout. Beyond all it is Kent, who wrote the film as well as directed it, who deserves large credit for the success.
About the same time as this film came out another horror film was released, also by a woman directing her first feature film, and that I think also ranks among the best modern examples of the genre: Ana Lily Amirpour's A Girl Walks Home Alone at Night. What Kent and Amirpour prove I think is that if more female talent was given a chance to make the films they are capable of, or the kinds they desire, that many more would shine, and studios are doing a disservice by not considering filmmakers of that gender more often. I can probably count on one hand the number of horror movies since 2000 made by men that I could put alongside either of these two.