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‘The Witches’ Never Fully Captures the Magic or Danger of Roald Dahl

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The Witches

A new adaptation of The Witches is set to hit HBO Max in just a couple of days, but does it live up to the source material?

Roald Dahl’s unnerving kids-lit story about a coven of witches bent on turning the children of the world into mice has a brand new cast, a new setting, and a new time period, all of which could have made this thing one hell of a movie to watch. Sadly, despite some incredibly good moments it just never seems to come together.

The Witches Hotel

(L-r) JAHZIR BRUNO as Hero Boy and OCTAVIA SPENCER as Grandma in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release.

**There are some light spoilers beyond this point, but nothing that will be too shocking if you’ve read the book or seen the previous film adaptation.

This new film opens, not in Europe, but in 1967 Chicago–complete with narration by Chris Rock–as our young hero (Jahzir Bruno) survives the car accident that kills his parents. He’s collected by his Grandma (Octavia Spencer) who takes him back to her home in Alabama and desperately tries to help the young man heal from his heartbreak.

Soon enough the boy encounters a witch while they’re out shopping for groceries and Grandma, in a panic, decides to whisk them away to a fancy hotel to hide out from the fiendish character reasoning that witches “prey on the poor” so there’s no better place to hide than surrounding yourself with the finest, richest company.

Unfortunately for them, the hotel just happens to be the very same one where a witch’s convention, led by the Grand High Witch (Anne Hathaway), has chosen as their gathering place.

So first, let me say that Octavia Spencer is a brilliant actress who deserves all of the accolades. From her first moment on screen, she is absolutely believable. She is heartbroken, herself, over the loss of her own child, but she is holding things together for her grandson. There is never a moment where we doubt that she will do anything to protect him. She is wise and empathetic and sometimes hilarious and it’s a joy to watch her work.

OCTAVIA SPENCER as Grandma in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release.

Likewise, Hathaway attacks her role with relish, pulling out all the stops. She doesn’t just want you to see her as the Grand High Witch, she wants you to believe it. She steals every scene then chews through the scenery, sometimes literally, and delivers her lines with all the subtlety of a rusty chainsaw.

Sadly, the rest of the casting was not so inspired. While Chris Rock was certainly a fun choice for narration, he just felt like he was playing an older Chris Rock rather than really immersing himself in the character he represented. Also, while Stanley Tucci certainly did a fine job as the hotel manager, he felt criminally underused in the film.

And then there’s Kristin Chenoweth cast in the film as a third child/mouse victim of the coven. As youthful as her voice and energy is, there is simply no way she sounded like a child who escaped from an orphanage less then five months prior only to find herself on the wrong end of a witch’s curse. Even granting her wiggle room for the “mice age faster than humans” angle, the voice was simply not right and pulled me completely out of the film multiple times.

The Witches Mice

(L-r) The three mice, Bruno, Daisy and Hero Boy in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release.

What became clear while watching The Witches was that Robert Zemeckis was not entirely sure what kind of film he wanted to make. Over and over again, he would walk right up to the edge of embracing some of the darker aspects of Dahl’s original work, then take a measured step backward. It was as if he was wondering exactly how scary he could get away with being and rather than taking a chance, he played it safe.

When he did decide to go for terror, it comes off as too cartoonish.

Take for example the scene where the witches reveal themselves in the conference room of the hotel. In the previous adaptation, this scene was heightened by a bone-chilling performance by Anjelica Huston and a sound design that made your skin crawl as the witches removed their wigs, scratching their heads, and embracing their wicked selves.

In Zemeckis’s version, it was all just a little too sterile. Oh there are aspects of the characters that are somewhat frightening. They borrowed their split-mouth design from Japanese horror that takes up far too much jagged space on the face and made some interesting choices with the witches’ hands and feet, but we’re left with an almost too-ethereal Grand High Witch floating over her cohorts and delivering a wicked aria in the elevated prose of Dick Dastardly.

She’s cruel, but she’s also just a little too fun to be taken seriously.

ANNE HATHAWAY as Grand High Witch in Warner Bros. Pictures’ fantasy adventure “THE WITCHES,” a Warner Bros. Pictures release.

One final note, I don’t understand moving the film’s location to 1967 Alabama and then basically ignoring the Civil Rights movement of the 60s. Grandma and grandson are met with hardly any resistance at all when they show up to the fancy hotel owned by white people and staffed almost entirely by people of color. Now, of course, not every film has to have a message, but this ultimately feels like another pulled punch in a film full of them.

Moreover there are moments where they actually seem to embrace certain stereotypes in a way that borders on alarming in 2020. For instance, at one point a maid in the hotel spies the three mice and understandably loses her cool at which point she picks up a broom and begins slamming it down on the floor trying to stun/kill them. For a moment, I could not help but feel that the optics of the scene was a throwback to some of the negative stereotypes we saw in old Tom & Jerry cartoons.

It is difficult to know their intentions with these scenes, but it is certainly something to think about.

Overall The Witches is not a terrible movie. It is, however, a tonally uneven movie that felt unsure of itself, and will no doubt elicit as many riotous shouts of gleeful joy from its audience as it will eyerolls and groans. It certainly did for me.

Check out the trailer below and look for it on HBO Max on October 23, 2020.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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