The Moogai

The Moogai is a decent folk horror film that is consistently interesting in its exploration of Aboriginal myth, but never beyond a purely cultural level.

The fast pacing keeps the story constantly moving and engaging, mostly distracting from feeling like a basic folk horror as it speed runs through recognisable tropes and clichés. The acting from the cast is decent, with the more impressive performances coming from the three generations of strong female leads Tessa Rose, Shari Sebbens and Jahdeana Mary. The creature design is unique enough to stand apart from the average-looking demons that tend to dominate the sub-genre, the Indigenous cultural exploration is compelling enough as a thematic device, and the usage of lighting and cinematography is effective enough.

However, the fast pace makes the story wildly rushed in order to get to certain plot points quicker; character decisions, emotional beats, and looming threats barely get time to be established or seeded before they are brought out into full effect. No time is wasted even if a break or two should have beneficially been inserted to break it up and build a level of comfortability to be broken later by some properly constructed tension. Because of this the film is also not effectively scary, with the creature being shown quite clearly whenever it shows up which detracts from its threatening presence. Moreover, the themes are established but fumbled several times, never truly feeling fully realised in the messaging of the stolen generation where more could have possibly been done towards the emotional divide Sebbens' Sarah feels towards her two culturally clashing lives and especially Tara Morice's underdeveloped character, Annette.

Overall, The Moogai is an average movie that is certainly not predictably bad. It is, however, not very memorable in its tame and undercooked execution.

Let's get the negatives out of the way first.

1) The movie moves FAR too fast to do justice to the story they're trying to tell, the picture they're trying to paint. They could have greatly benefited from at least an extra 20 to 30 minutes in setting up the story proper, because that would have given us more time to actually connect with, and care about, our leads.

2) It might just be me, but I got the feeling that Shari Sebbens and Meyne Wyatt were a little out of their depth in the first half-ish of the movie, or maybe it was just the editing that failed them. Their acting felt stilted and stuttery at first, and I KNOW they can do better because I've seen them do better.

Now that that's out of the way, if you can get past those two minor quibbles then you're in for a pretty damn powerful story. In much the same way as The Babadook used its titular entity (which, unlike the Babadook, isn't a creation purely for its movie) as a kind of symbol of the Stolen Generation - one of the more shameful parts of Australian history, which is saying something because there's a LOT of shameful parts of our history, especially in regards to the treatment of the indigenous population - and the pain it has caused for our Indigenous women particularly. To that end, the final act of the movie is an incredibly powerful act, and gives both Shari Sebbens and Tessa Rose full rein to stand tall and show the strength that they're capable of.

This is way more than just your average horror film. It touches on family ties and separation (in this context the generational trauma from the stolen generation), addresses mental health issues (in this case post natal depression), the fears and joy of parenthood, the effects of racial bias on society, and the lengths a mother will go to protect her children.

The acting was SUPERB and I would be really surprised if the main actress doesn't get nominated for an award! The entire cast was brilliant and the cinematography was on point! At one point you couldn't tell whether what you were seeing was part of a dream sequence or whether it was reality. The CGI for the Moogai itself was disturbingly creepy, and will be forever embedded in my mind!

There is just one plot inconsistency that really didn't get resolved towards the end (much to my annoyance), but that didn't stop me from enjoying the overall production.

I really hope we get to see more First Nations themed horror movies in future! This was a real treat to go and see and I hope it gets screened at more theatres (as it stands, it's only showing at selected cinema and I hope that word of mouth can get more screenings into more theatres).

Pity they didn't stick with practical effects, as simple works best with a story such as Moogai. I feel the original short works better for actual horror, in feature form it's more intense drama. The family dynamics offered a touch of endearing amusement, but actually worked quite well as a realistic balance of lost identity and modern corporate persona. Some of the more pointed lines felt overt and distracting; I agree the sentiment made sense with the placement, the phrasing just sounded committee and not familiar conversation. The white eyes and long arm element always proved most creepy, but none covered new horror territory. Tropes are tricky to avoid, but from memory the short didn't have this issue. Still, I would absolutely love to see more Australian horror with an indigenous perspective; I feel so many elements exist without even getting deep into the supernatural. I'm pleased the original short did well enough to find funding for a feature; looking forward to what comes next from the people involved in this project.

The Moogai is a standout in modern horror - a film that's not only chilling but deeply meaningful. Jon Bell blends Indigenous mythology with psychological horror in a way that feels both fresh and essential. Shari Sebbens delivers a powerful, emotionally layered performance, anchoring the film with quiet intensity.

The creature design and atmosphere are haunting, but what lingers most is the film's exploration of intergenerational trauma and the lingering shadows of Australia's past. It's a story that feels personal, political, and profoundly human.

If there's one flaw, it's that the pacing in the second act occasionally lags, momentarily softening the tension. Still, this is a bold and vital work - horror with a heart and a voice that demands to be heard.