The relationship I hold with horror films can only be categorized as complicated. With an overly exaggerated startle response (Thanks, Dad…), even the most insignificant of stimuli can result in me jumping out of my seat. Horror films rooted in suspense to generate fear will always appeal to my sensibilities much more so than those relying heavily on shock and/or gore. The Witch, the big-screen debut from writer/director Robert Eggers, takes us down the path of suspense and mystery for its creation of dread.
A melting pot of common fears are tackled in this story, which focuses on a 17th century Puritan family as they strike out on their own after a disagreement of moral beliefs with their former New England plantation. If the mystery behind religion, darkness, the woods, or even children singing in unison make the hairs on the back of your neck stand up, you will certainly experience a satisfactory level of discomfort. However, while on their own merit these themes can be uniquely terrifying, they seemed to pile on top of one another in the story, hindering their efficacy.
The family’s patriarch, William (Ralph Ineson), leads his family to an isolated piece of land along the edge of a forest to begin their lives anew. Along with his wife Katherine (Kate Dickie), they instill firm religious values within their four children, Thomasin (Anya Taylor-Joy), Caleb (Harvey Scrimshaw), Mercy (Ellie Grainger), and Jonas (Lucas Dawson). Inexplicable occurrences quickly shake the family’s dynamic to the core. Their newborn son, Samuel, goes missing during an innocent game of peek-a-boo with Thomasin, crops cease to grow as winter approaches, and William’s rifle backfires when shooting at a rabbit in the woods. An attempt to make sense of the incomprehensible leads to a slow descent into madness for William and Katherine, who feel utterly powerless at the feet of their God.
The script is thoroughly detailed, almost to the point of working against itself. A gripping and intellectual story was needlessly distracted from the actual nemesis of the family. The viewer attempts to put together a puzzle, only to find the final piece fits, but doesn’t seem to blend with the overall picture. Many questions are raised with few answers, perhaps due to the lack of clarity following a mysteriously intriguing first hour. The film’s conclusion matches the overall tone of the film: Bleak and bewildering.
The Witch is a positive debut from Robert Eggers. His creation of beautiful shots paired with the contrasting dark storyline was incredibly effective in the creation of dissonance in the mind, while bringing about tension and uncertainty with each changing scene. A uniquely terrifying score created moments resulting in feelings of noticeable uneasiness. Complimentary to this were the performances delivered by Ralph Ineson and Anya Taylor-Joy. Ineson conveyed the destructive effects resulting from a gluttony of faith and lack of intuition. Taylor-Joy delivers an impressive performance, characterizing the spectrum of a woman’s coming of age as helpless bystander to a family gone batty. The viewer cannot help but feel pity for Thomison as she is trapped while her family implodes from within. None of this, however, is able to overcome a conclusion which was so sudden a left turn from the previous 75 minutes that it felt as if it was a different (and sub-par) film altogether.
It is clear that Eggers is a promising filmmaker. After this debut, his next project should be one to keep an eye out for.
2.5/4
-I
Double Feature Film Reviews 