On the surface the Babadook is just another bogeyman: prickly, sinewy, all arched limbs and spiky digits. And this is the point: he is just another bogeyman; it is what he represents that really matters.[…]
Les Misérables is drenched in costume symbolism, specifically revolutionary red, white and blue. Subtle was never its intention.
Wes Anderson’s most sartorially significant film yet.
Baby’s ascent to womanhood is showcased through her wardrobe choices.