The Babadook Full Horror Movie Online by Jennifer Kent
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About the movie:The Babadook is a 2014 Australian-Canadian psychological horror film, written and directed by Jennifer Kent as her directorial debut, in which a woman and her son are tormented by an evil entity. The film stars Essie Davis and Noah Wiseman, while Daniel Henshall, Hayley McElhinney, Barbara West, and Ben Winspear appear in supporting roles. The Babadook was produced by Causeway Films (Kristina Ceyton) and is based on the short film Monster (2005), also written and directed by Kent.
IMDb Ratings: 6.8/10
IMDb Ratings: 6.8/10
Jennifer Kent can’t seem to get rid of the Babadook.
Back in the early 2000s, the Australian actress heard a strange story: It seems that a friend of hers had a young son who was convinced he was being stalked by an imaginary boogeyman. In order to stop the boy from freaking out, the mom would pretend to talk to this creature. Kent couldn’t quite let the idea go — and when she decided to start working behind the camera, she used the basic premise for her 2005 short film Monster, about a mother and son menaced by a malevolent creature. She then spent years trying to make several projects that were, in her words, “really strange and ambitious,” off the ground. But Kent’s mind kept returning to the image of a small boy cowering before a black-draped figure with spindly talons and face drained of blood, and a mother drawing on her primal protective instincts to banish it. “This idea of facing darkness, facing the shadows — it just kept coming back,” she says.
Ideas, as the heroine of Kent’s debut feature The Babadook discovers, are not so easily banished. An extension of her short, this creepy horror film focuses on a widowed single mother named Amelia (played by Essie Davis, Kent’s fellow student at the National Institute of Dramatic Art in Sydney) whose six-year-old son comes across a mysterious, macabre children’s book. Inside this pop-up is a shadowy figure called “the Babadook,” a small man with a top hat, a shark-like smile and a penchant for creepy, rhyming threats. (The name, which Kent invented, is a riff on “babaroga,” the Serbian name for the boogeyman.) Soon, the already alienated kid starts to carry around makeshift weapons and claim that this Babadook is real; when Amelia ends up burning the offending tome and it reappears intact inside her house, she begins to take her son’s hysterical ravings seriously. It’s one of the most terrifying psychological horror movies in ages, as well as an extraordinary exploration of what happens when repressed emotions such as grief and loneliness are suddenly given form — as well as claws and fangs.
Kent says it was the character of the mom, and not a freestanding interest in things-that-go-bump-in-the-night genre filmmaking, that led to her framing The Babadook as a horror movie. “It really was connecting to that woman and her journey towards staring something nightmarish in the face,” she explains. “As the film progresses, you start to realize: Oh my God, the kid was right — and that’s where the fear is for me. If you make this kind of story in a purely dramatic realm, it’s easier for an audience to sit back and judge. But when you throw them into a scary situation where they’re feeling it, too, it’s much more easy for people to experience it.”
It’s an open secret of parenting that children can drive you crazy, but few movies have visualized it so effectively. The boy, Samuel, is a petulant, disobedient brat pushing his already frazzled mother to the brink of madness. “I’m not a parent,” Kent says, “but I’m surrounded by friends and family who are, and I see it from the outside…how parenting seems hard and never-ending. I thought the film was going to get a lot of flak for Amelia’s obvious shortcomings as a mother, but oddly, I think it’s given a lot of women a sense of reassurance to see a real human being up there. We don’t get to see characters like her that often.”