Guest Post

The Babadook (2014)

The first guest post of 2015! Written by the wonderful Jenny Mugridge, go check out the rest of her work over at Terror Tuesday’s New Year’s resolutions are to get more guest posts so if you are interested get in touch at charlie.wand “at”!

the babadook

One of the best indicators of a horror film, in my humble opinion, is that people who don’t like horror films think it’s awful.

All too frequently, the films which appear at the cinema under the “horror” category are cheap versions of the genre, relying on easy jumps and sickening gore rather than substances. The Babadook does none of these things and is instead a true horror story, built for horror fans.The monster, the Babadook itself, is scary in all the best ways. Its horrible onomatopoeic croak, its bogeyman cloak, hat and claws and its relentless pursuance of its victims – forcing them to do most of the damage to themselves – are all elements of a truly scary villain, the kind which stays with you long after you leave the cinema.

For me, however, the real horror story was Amelia’s life. Amelia is a single mother after having lost her husband on the way to the delivery of their son. It’s an unimaginable tragedy that she should be left to raise her son under the scrutiny of teachers, relatives and strangers – especially when that son is understandably quite odd. One of the saddest things is that he’s an intelligent, passionate, loving and brave young boy, but the more out of control he gets, the more alone Amelia feels. This is entirely exacerbated by her selfish sister, with her horrid daughter and vapid, condescending friends. The constant pressure put upon Amelia to altruistically care for others (if not with her son then her elderly neighbour, or the Alzheimer’s patients she cares for) is crushing even to watch, especially when she’s unable to even masturbate without a child appearing in her room.

It’s a film that really pummels you in the emotions. It’s difficult not to feel horrible about Amelia’s predicament, especially when she suffers so badly for the small and utterly human mistakes that she makes. But I felt so much for Sam as well; this kooky little genius who isn’t old enough to understand why everyone but him has a living father and why that makes other people uncomfortable. There are also so many of those small brutalities that children inflict on each other, from making others feel excluded to saying unspeakably cruel things, and in a way it feels as raw as if you can remember these things happening to yourself.

The relationship between Amelia and Sam is hard to watch, but real. Director Jennifer Kent was keen on portraying the pressure put upon mothers to be deities of pure love and understanding – she has said that “it is a very taboo subject, to say that motherhood is anything but a perfect experience for women.” In this respect it feels somewhat like We Need To Talk About Kevin, as it inspires the same gut reaction to place blame when really there is none.

And we’re not even onto the genuine horror yet! One fateful evening, young Sam finds a mysterious red picture book on his shelf and asks his mother to read it to him. At first it seems like a normal fairy story but as it becomes more and more dark it feeds Sam’s anxiety about monsters hiding under the bed and in the closet, and he becomes uncontrollably distraught.

The Babadook, as a monster, is terrifying in its inevitability. The problem is this; once you are aware of its existence, it’s too late. Kind of like The Game ( in that respect. I appreciated that it appeared infrequently and without much detail, giving it more of an impression than anything specifically horrible looking which could be easily dissected, criticised and mocked. Most of the time it’s hard to tell whether the Babadook is there or Sam is just acting up. For a long time he is insistent that the creature is there and reacts to the denial of others as you would if someone insisted that you didn’t exist – to the point of anger. Physical symptoms begin to emerge from his over-excitement and he becomes steadily more dangerous.

Amelia rips the book up and throws it away but no monster would give up so easily, and after invading her dreams the book eventually appears back up on the doorstep one day. Not only has it been repaired but it now has additional pages which depict her killing the dog and then her son, and threatens that the more she tries to deny its existence the stronger it becomes.The real life pressures of Amelia’s life begin to combine with the supernatural stresses that the Babadook brings and she becomes increasingly unravelled. Like any good psychological horror, the fear sets in that she may go mad as even the best people are wont to do when deprived of sleep and under huge amounts of pressure.

It’s obvious that a lot of classic horror films influenced The Babadook. The monster itself is reminiscent of those in Vampyr and Nosferatu while The Fall of the House of Usher lends a stylistic element and I wouldn’t be at all surprised if writer and director Jennifer Kent was a fan of Sam Raimi’s Drag Me To Hell. The fairytale aspect also reminded me of some Guillermo Del Toro movies, which is no bad thing at all.

So, in summation: if you enjoy such horror movies as The Thing, Nosferatu, Don’t Be Afraid Of The Dark, or any of the other films I’ve mentioned, you’ll probably agree that it’s a fine example of a classically scary horror film. But if you need your films to be explicit and wrap up neatly at the end, it may not be to your tastes.

Rating: 5/5




Dead Silence (2007)

My first guest post! Written by the wonderful Jenny Mugridge, go check out the rest of her work over at I hope to add more guest posts, so if you want to contribute please get in touch. 



In Dead Silence, Ryan Kwanten (alternatively known as “Jason Stackhouse!”) plays the protagonist of a supernatural horror film attempting to avenge the death of his pregnant wife. Exactly the kind of film you’d expect to come from the makers of Saw, it is moderately scary with a plot inspired by a host of other films and a boring and obvious twist. Fertility is a running theme, and the lack of it is expressed through the need to adopt infant-surrogates in the form of puppets or dolls; other than that it is a fairly straightforward haunting-and-possession flick.

When Jamie receives an unmarked package with a ventriloquist doll inside, he isn’t quite as freaked out as I would have been, even when his wife reminds him of an urban legend from his childhood. The story goes, “Beware the stare of Mary Shaw – she had no children, only dolls. If you see her in your dreams, make sure you never ever scream”. Aside from the infuriating fact that it <b>doesn’t rhyme</b>, it’s not quite on the same level as “one, two, Freddy’s coming for you”, but it is fairly succinct in getting across the core concept of the film.

When he leaves the house to get dinner, his wife (who has far too little screen-time, in this writer’s humble opinion) sets up the puppet to mess him with him later. Unsurprisingly though, things go sour and when the doll comes for her she forgets the most important part of the rhyme – the not screaming bit. Seeing the mother of his unborn child horrifically murdered in front of him leaves him less insane with grief than you might think, and he seems fairly cogent when he seeks out his father to see if there is any truth to the Mary Shaw myth, in an attempt to explain Lisa’s gruesome murder.

Mary Shaw herself is a pretty scary if tragic villainous figure, but it’s her dolls and puppets that really take the main stage in terms of horror. Although Jamie’s father is set up as a bad guy, we receive very little explanation for exactly why, and the detective who seems to unnecessarily persecute a grieving widow to great personal expense is a rather flat nemesis.

While Dead Silence is probably better appreciated as a string of crow-barred in scary concepts than a cohesive horror film, those concepts are at least pretty good – if you have a fear of puppets, dolls, clowns, dead children or dead bodies, you’ll find something to creep  you out. It’s not a terrible film by any means and has some genuinely terrifying moments mostly executed through a fantastic cultivation of atmosphere, but it’s hard not to spend the duration of the film comparing it to other, better horrors.

It’s difficult to praise Dead Silence very much, but it feels unfair to be too critical of a film that has some genuinely good parts. It isn’t irredeemable but it is a fairly straightforward horror; it’ll make you jump but you shouldn’t expect to have nightmares about it weeks later.

Rating: 3/5