When you assemble the likes of Kate Mara (House of Cards), Rose Leslie (Game of Thrones), Anya Taylor-Joy (The Witch), Jennifer Jason Leigh (The Hateful Eight) and Michelle Yeoh (Crouching Tiger, Hidden Dragon) you’d expect all the girl power onboard to make for some exceptionally high voltage x-chromosome electricity. I mean we’re talking Ygritte, Sue Storm, Thomasin, Daisy Domergue and Wai Lin all huddled under one hot tin roof, sermonizing, philosophizing and fisticuffing under the purview of a Ridley Scott protege. But all the estrogen in the world can’t overpower Morgan’s tepid and over-familiar “lab monster” plot nor fuel its running-on-fumes third act.
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‘THE WITCH’ Blu-Ray Review
Synopsis: “In 1630 New England, panic and despair envelops a farmer (Ralph Ineson), his wife (Kate Dickie) and four of their children when youngest son Samuel suddenly vanishes. The family blames Thomasin (Anya Taylor-Joy), the oldest daughter who was watching the boy at the time of his disappearance. With suspicion and paranoia mounting, twin siblings Mercy (Ellie Grainger) and Jonas (Lucas Dawson) suspect Thomasin of witchcraft, testing the clan’s faith, loyalty and love to one another.” Read More
Out in Theaters: ‘THE WITCH’
What do 1630, a silver cup, Christian fervor and a goat named Black Phillip have in common? The Witch. Unholy goodness through and through, Robert Egger‘s feature film debut is a horror masquerading as a costume drama that’s as beady, black and misshapen as the center of a goat’s eye. Beneath the dirt-stained, leather-bound waistcoats, the perfumed, toity language of the New World, the white bonnets and constrictive girdles, The Witch has a vicious, illicit and suspicious center and though admittedly scaled back on “scares” is deeply atmospheric, deeply disturbing and deeply great. Read More
Sundance Review: THE WITCH
What do 1630, a silver cup, Christian fervor and a goat named Black Phillip have in common? The Witch. Unholy goodness through and through, Robert Egger‘s feature film debut is a horror masquerading as a costume drama that’s as beady, black and misshapen as the center of a goat’s eye. Beneath the dirt-stained, leather-bound waistcoats, the perfumed, toity language of the New World, the white bonnets and constrictive girdles, The Witch has a vicious, illict and suspicious center and though admittedly scaled back on “scares” is deeply atmospheric, deeply disturbing and deeply great. Read More