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Tag Archive: The Witch 2016 movie


It looks entirely like an experimental expressionistic film, something created by an aspiring filmmaker in film school, maybe an ambitious effort to create something historical and strange like Ingmar Bergman’s The Seventh Seal.  Is production and costume designer-turned-director Robert EggersThe Lighthouse simply a horror movie about two lighthouse keepers or can we hope for something bigger, more of metaphor and allegory?  Shot in black and white 35mm film, the initial appeal is for anyone fond of classic black and white Gothic horror It’s billed as psychological horror, but will it feature psychological horrors of today or stick with more reserved terrors that reflect its more tempting, classic appearance?

The Lighthouse stars character actor Willem Dafoe, and co-stars Robert Pattinson in his most public role since the announcement he will don the cowl and cape in a forthcoming Batman movie.  Remember Michael Keaton releasing Beetlejuice, Clean and Sober, and The Dream Team with the new acting range spin to get us prepared to see him on the big screen as the dark knight detective?  Genre niche popularity of the Twilight series and his brief stint in the Harry Potter franchise aside, Pattinson hasn’t had the universal appeal and popularity Keaton had with Night Shift and Mr. Mom, making him a household name.  Can he convince fanboys and fangirls he has what it takes?  Can audiences push the future aside and appreciate The Lighthouse for whatever Eggers is trying to do?

As for Eggers, who co-wrote the story with brother Max, this is his second film after the Anya Taylor-Joy vehicle The Witch.  Here he’s trying that tried and re-tried convention of bringing black and white films to modern audiences.  It often works, as it did with popular and critical success for Paper Moon, Young Frankenstein, Raging Bull, Dead Again, Schindler’s List, The Artist, Logan Noir, and Roma.

Take a look at this nicely moody trailer for The Lighthouse:

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The Witch screencap

WELCOME TO EARTH-4

A Column by J. Torrey McClain

I saw The Witch last week and I got a few true scares.  I also felt a little sleepy at a few points due to a big meal beforehand, poor sleep hygiene at the moment and possibly, possibly, due to the movie and its time period.  It has made me wonder, when in the history, present and future of the universe is the best setting for horror?

I’ve written before on horror in the future when I looked at A Walk in the Dark by Arthur C. Clarke.  (I won’t make myself shudder by mentioning spooky little girls again.)  As I wrote about in that essay, the compelling element of that story came from its application to any time period.  The dark scares us.  The dark scared us.  The dark will continue to scare us.

The future can be scary in its own period as any watching or re-watching of Alien can stir up the tension and fear of meeting with the unknown on the fringes of space.  If not a xenomorph, maybe it’s the weeping angels of “Blink” or the Vashta Nerada of “Silence in the Library” from Doctor Who that get you.  The future combines the unknown of our nightmares with the familiarity of the present (video stores, libraries, kitchens) set in just enough of a different place to make it believable.  When won’t we have libraries?  (In the presence of eBooks, after Netflix all but eliminated video stores, I maybe should have kept that question to myself.)  When won’t we gather with others to eat?  When won’t we watch video entertainment?

video store x

The present scares me because I can insert myself into the world of self-documentation like in The Blair Witch Project or the world of the omnipresence of cameras in the various Paranormal Activity movies.  As I type, someone could be scoping me as I scrutinize my screen, attired in a Kingdom Come Superman shirt.  Properly spooked, I may throw in the towel on this essay, go to my bed, open my Spanish language-learning app and get watched through the camera on my phone.  I could put the phone face down and still not solve the possibility of someone watching me through the rear-facing camera as I crack open one of those library books that pedants might argue as far-fetched.

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