On a cold and stormy night, a rare and chilling sight could be seen in the small village of Salem. A 12-foot witch, dressed in black robes, was suspended in mid-air, her broomstick nowhere to be found. The villagers gasped in both fear and awe as they witnessed this supernatural spectacle. It seemed as though time had frozen, and everyone held their breath, unsure of what would unfold. The witch remained motionless, her eyes blazing with an otherworldly glow, while a crackling energy surrounded her. Whispers spread like wildfire, speculating on the purpose of her visit and the possible consequences it could bring.
Whispers spread like wildfire, speculating on the purpose of her visit and the possible consequences it could bring. Some believed that she was a harbinger of doom, a sign that dark forces were gathering. Others saw her as a powerful being, capable of granting wishes and bestowing blessings upon the deserving.
“The Witch” movie review: Horror at its most sinister
Anya Taylor-Joy and Harvey Scrimshaw star in “The Witch,” a chillingly atmospheric story of Calvinist zealotry and creeping hysteria.
PUBLISHED: February 18, 2016 at 5:36 a.m. | UPDATED: April 17, 2016 at 11:15 p.m.* * * Stars | Horror. R. 92 minutes.
A grim, uneasy sense of doom pervades “The Witch,” writer-director Robert Eggers’ audacious and assured feature debut.
An avatar of a sub-genre that might be called Colonial gothic, this chillingly atmospheric story of Calvinist zealotry and creeping hysteria joins the ranks of such landmark horror films as “The Omen,” “Rosemary’s Baby” and “The Exorcist.” That “The Witch” comports itself less like an imitator of those classics than their progenitor is a tribute to a filmmaker who, despite his newcomer status, seems to have arrived in the full throes of maturity, in full control of his prodigious powers.
“The Witch” begins in 1630, as an English settler named William (Ralph Ineson) is being banished from his New England plantation of Puritan colonists, forcing him to move with his wife, Katherine (Kate Dickie), and their four children to a hardscrabble farm on the outskirts of a forbidding forest.
When their oldest daughter, Thomasin (Anya Taylor-Joy), takes her infant brother for a walk one day, she ventures too close to the woods, which are strangely charged with palpable but invisible forces. A series of bizarre events begins to unfold, each more terrifying than the last, calling into question whether the farm’s blighted crops, strangely behaving animals and apparent descent into madness are a function of William and Katherine’s religious paranoia or the handiwork of Satan.
Until now, Eggers has worked as a production designer and art director for independent films and TV shows, his visual depth and fluency giving “The Witch” a look that is both austere and improbably rich. Aided by Jarin Blaschke’s cinematography and a slashing, dissonant score by Mark Korven, Eggers plunges viewers into a world of icy severity and harsh deprivation, putting the lie to the cozy American myth of resourceful, poor-but-happy settlers. (Viewers could profitably debate the far more novel and sophisticated critique of Manifest Destiny in “The Witch,” as compared with the overwrought theatrics of “The Revenant.”)
Eggers reportedly based his script on actual diaries and accounts from a time that predated the Salem witch trials by several decades, giving “The Witch” the mannered cadences and rhythms of something written on parchment rather than celluloid (or, in this case, the data-capture chip of an Arri Alexa digital camera). It isn’t until the film’s graphic, gory denouement that Eggers’s command begins to slip, and “The Witch” enters into conventional body-horror territory, its increasingly graphic imagery and keening pitch supplanting the more effective restraint and misdirection that have gone before.
For fans of horror at its most sinister, “The Witch” is not to be missed. It casts a spell that lingers long after its most disquieting mists have cleared.
Eggers reportedly based his script on actual diaries and accounts from a time that predated the Salem witch trials by several decades, giving “The Witch” the mannered cadences and rhythms of something written on parchment rather than celluloid (or, in this case, the data-capture chip of an Arri Alexa digital camera). It isn’t until the film’s graphic, gory denouement that Eggers’s command begins to slip, and “The Witch” enters into conventional body-horror territory, its increasingly graphic imagery and keening pitch supplanting the more effective restraint and misdirection that have gone before.
As the minutes ticked by, intense curiosity gave way to fear, and the villagers began to retreat to the safety of their homes. It became clear that the witch was not an ordinary traveler passing through. Her presence seemed to be a deliberate act, a message perhaps, directed at the village and its inhabitants. Some brave souls dared to approach her, hoping for answers to the questions on everyone's minds. But their attempts were in vain, as the witch remained inscrutable and unresponsive. Just as abruptly as she appeared, the witch slowly descended from the air, her feet touching the ground with a soft thud. The crackling energy dissipated, and the villagers cautiously approached, their fear giving way to curiosity once more. The witch surveyed her surroundings before speaking in a voice that seemed to resonate with both power and wisdom. "Fear not, for I mean you no harm," she said, her voice carrying through the still night air. "I have come to deliver a warning and a choice. The path you choose will shape your fate." With those cryptic words, the witch vanished, leaving the villagers with a sense of unease and uncertainty. As days turned into weeks and weeks into months, the memory of the 12-foot witch in mid-air remained etched in their minds. It served as a constant reminder that actions have consequences and choices carry weight. The village began to reassess their lives, striving for betterment and unity in the face of unknown challenges. The visitation of the witch became a turning point, a catalyst for transformation and growth. Ultimately, it was up to each individual, and the collective as a whole, to determine their own destiny. The tale of the 12-foot witch would pass down through generations, a reminder of the fragility of life and the power of choice..
Reviews for "The Dark Side of the 12 ft Witch: Tales of Fear and Intimidation"
1. Jenny - 2/5 stars - I was really disappointed with "12 ft witch in mid air". The storyline felt disjointed and confusing, and the acting was subpar. The special effects were also underwhelming, especially during the scenes with the witch flying in mid-air. Overall, I felt like this movie didn't live up to its potential and failed to deliver a truly captivating and engaging experience.
2. David - 1/5 stars - "12 ft witch in mid air" was a complete waste of time. The plot was weak and unoriginal, and the characters were poorly developed. The concept of a witch flying in mid-air could have been intriguing, but the execution was lackluster. The CGI was laughably bad, and the acting was wooden and unconvincing. I regret watching this movie and would not recommend it to anyone.
3. Sarah - 2/5 stars - "12 ft witch in mid-air" had potential, but it fell short in many aspects. The pacing was off, with some scenes dragging on while others felt rushed and unresolved. The special effects were poorly done, making the witch's mid-air flight look more comical than frightening. The acting was mediocre at best, and the dialogue felt forced and unnatural. Overall, this movie had an interesting concept but failed to deliver a captivating and memorable experience.