Johannes Nyholm
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Traditional horror fans who may be looking for some scares may need to think twice when encountering Koko-di Koko-da as it could be considered more of a psychological horror in the same vein as The Babadook .
Assembled together from the jagged pieces of Happy Death Day, Last House on the Left and the Babadook , Koko-di Koko-da is as visually and tonally messy as that recipe sounds – sporadically engrossing, but largely infuriating, dispensing the same sharp stick to the ribs that Lars Von Trier likes to smuggle into his best projects.
That about sums up the experience of watching a movie that plays like the bastard offspring of Groundhog Day and The Babadook.
It manages to be a strange blend of films such as The Babadook and A Clockwork Orange , but fails to find a good middle ground for the story of grief to meet the comedy.
Like in Jennifer Kent’s The Babadook , grief makes Jason Voorhees and Michael Myers look like pikers.
It is slowly terrifying, but not in an overwhelming way where I felt the need to turn it off in the sense that it is not akin to a film like “Funny Games” (2007,) it is more allegorical in an original way I have never seen before.
The film, from Swedish writer-director Johannes Nyholm, calls the work of French filmmaker Michel Gondry ( Eternal Sunshine of the Spotless Mind , The Science of Sleep , Kidding ) to mind, as it mixes live-action with puppetry and other similarly strange touches in order to explore the characters’ emotions.