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Ba Ba-Ba Dook! Dook! Dook! The Babadook is written and directed by Jennifer Kent. It stars Essie Davis, Noah Wiseman, Daniel Henshall and Hayley McElhinney. Music is by Jed Kurzel and cinematography by Radek Ladczuk. Amelia is a single mother still haunted by the violent death of her husband, she is trying to deal with her young son Samuel's fear of a monster in the house. Initially tolerating it as a flight of fancy, the arrival of a book in the youngster's bedroom called Mr. Babadook, signals the start of a sinister presence that she herself can begin to fear as well. Australia has been producing some great horror films in the last couple of decades, The Babadook is one of the best of the bunch. Jennifer Kent made it as a 10 minute short back in 2005 called Monster, itself a super piece of horror film making, now in full feature length form (Kent’s first), the vision and intelligence explodes off the screen in every frame. The premise at the core is not exactly fresh, but Kent manages to make The Babadook its own entity, skilfully steering away from formula jolts and terrors. Which in this day and age of horror retreads, sequel frenzies and blood for blood’s sake, is most refreshing. This is a big character piece, a two hander of incredible emotional power, a mother and son dealing with their own demons before the eponymous Babadook enters the fray. We care about this pair of troubled souls, so much so that as we start to feel the dread, get the tingles down the spine, our hearts are also aching for them. The two performances of the actors quite simply magnificent. Mr. Babadook is a pop-up picture book that suddenly arrives into their lives. The creature is a sort of cross between a German expressionistic nightmare and Jack the Ripper. The book itself is creepy enough in its own right, more so as it starts to take on a more terrifying tone – and Amelia proves unsuccessful at getting rid of the thing – the picture starts playing its ace psychological cards. The monster is kept mostly to the edges of the frames, or just popping up for a quick glance in unexpected places, this is a great move and suits the narrative perfectly. The tech credits are top notch. A key aspect to getting the most out of The Babadook is to make sure the sound is loud, for the sound mix is tremendous and can bring pounds of gooseflesh rising up on your arms. Ladczuk’s photography is at one with the themes pulsing away in the story, the colours paled and cheerless, enhancing the fractured psyches of mother and son, but Mr. Babadook is a jet black presence in this landscape. All told the art design from the book to the house and the creature is excellent. Umbrella’s Australian All Region Blu-ray Release has a super transfer and does justice to the sound mix. There’s over an hour of interviews, which are a mixed bag of informative chat and back slapping, a 12 minute behind the scenes making of and some trailers. The bonus is the 10 minute short, Monster, The Babadook in its infancy but no less scary for it. The Babadook is a superlative horror film for adults, like when Polanski met Kubrick and they decided to pay homage to Fritz Lang and George Melies. Yes it’s that good. 10/10
The best pure-horror of the year. But that's not saying much. Final rating:★★★ - I liked it. Would personally recommend you give it a go.
'The Babadook' is a well done horror film, one that is most definitely creepy. I would've liked more from the monster and how it works, though the film does give you enough and certainly does a fine job at building up the atmosphere of uneasiness that the thing produces. One great part I noticed is the sound editing, which is astutely crafted throughout. Essie Davis does terrific in the role of Amelia, she shows every emotion that her character is feeling nicely - I felt her pain initially with the kid, too. Noah Wiseman plays her son, Samuel. He is actually quite impressive given his age, there are a few scenes where he adds a fair deal to them. It's hearty, suspenseful and attempts proper horror as opposed to forcing things like jump scares, which I will always praise a production in this genre for. I wanted a little more, but overall I like this.
The Babadook is one of those elusive horror films, that's open to broad interpretation. My personal feeling have watched the whole film in the context of the single mothers predicament, is the real monster is the spectre of domestic abuse. Abuse that happens when a fundamentally decent person, is pushed too far by life and circumstance. I will warn you, this film is most definitely not for everyone. If, like me, you don't like films, that emulate the abuse of animals, you might want to give this one a hard pass. That said, there is a lot to like in The Babadook. Its a grimly realistic insight into how life's tragedies can compound and grow, beyond the first tragic event. Acting too, as is so, so often the case with Australian films, is of a very high standard. Its easy to be drawn into the unfolding, sad tale of a struggling mother, who suddenly finds herself single, sad and alone, with a young son to support. In summary, quite brilliant, in a dark, at times sad and depressing way. By no means an easy watch but certainly a haunting one, that will remain with you, long after the closing credits.
An ex-pat travels from New York to his home village in rural China after a long absence. On his way, he meets a familiar girl.
an Iranian TV and documentary director who becomes involved in the plight of Malineh, a young woman who appeared in her latest film. Malineh is desperate to sell one of her kidneys in order to raise money for the defense of her mother, who faces hanging on a charge of murdering her husband.
After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.
Loving but irresponsible dad Daniel Hillard, estranged from his exasperated spouse, is crushed by a court order allowing only weekly visits with his kids. When Daniel learns his ex needs a housekeeper, he gets the job - disguised as a British nanny. Soon he becomes not only his children's best pal but the kind of parent he should have been from the start.
Trapped within an eerie mist, the residents of Antonio Bay have become the unwitting victims of a horrifying vengeance. One hundred years earlier, a ship carrying lepers was purposely lured onto the rocky coastline and sank, drowning all aboard. Now they're back – long-dead mariners who've waited a century for their revenge.
Despite their social differences Luise, called Pünktchen, a girl from rich parentage befriends Anton, a boy who has to earn his own money in order to afford life for his sick mother and himself. Together they undergo different adventures, even preventing a theft in Pünktchens home
Luise, called Pünktchen, and Anton are closest of friends. Being the daughter of a wealthy surgeon, young Pünktchen lives in a great house. Her mother, who always travels through the world more for public relation reasons than for the social tasks she pretends to fulfill, is never available to her as a mother. Anton, son of a single and sick mother in financial trouble, does his best to help her out of it by working late. Pünktchen decides to help her only friend (as nobody else would anyway) and starts singing in public places. Trouble arises when Anton can't resist stealing a golden lighter and Pünktchen's secret life is discovered by her parents. Two troubled families finally can see the need for actions to be taken.
A diplomatic couple adopts the son of the devil without knowing it. A remake of the classic horror film of the same name from 1976.
The cruel and abusive headmaster of a boarding school, Michel Delassalle, is murdered by an unlikely duo - his meek wife and the mistress he brazenly flaunts. The women become increasingly unhinged by a series of odd occurrences after Delassalle's corpse mysteriously disappears.
When Sam Baldwin's wife dies, he is left to bring up his eight-year-old son Jonah alone, and decides to move to Seattle to make a new start. On Christmas Eve, Jonah rings a radio phone-in with his Christmas wish to find a new wife for his dad. Meanwhile in Baltimore, journalist Annie Reed, who is having doubts about her own relationship, is listening in.
During a writing slump, playwright J.M. Barrie meets a widow and her four children, all young boys—who soon become an important part of Barrie’s life and the inspiration that lead him to create his masterpiece. Peter Pan.