The VVitch: A New-England Folktale


Action / Horror / Mystery


Uploaded By: FREEMAN
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May 05, 2016 at 02:40 AM



Kate Dickie as Katherine
Julian Richings as Governor
Ralph Ineson as William
Anya Taylor-Joy as Thomasin
720p 1080p
675.77 MB
23.976 fps
1hr 32 min
P/S 21 / 144
1.4 GB
23.976 fps
1hr 32 min
P/S 23 / 127

Movie Reviews

Reviewed by Bogdan Neacsa 7 / 10

Know what you're getting into!

To start, just so you know who's actually writing the review. Young fellow here, didn't watch any 'classics' horror movies but I do enjoy horror movies in general as long as they are not just gore type of movies. I'd say my favorite horror movies are The Ring and The Conjuring.

So, past that to The Witch.

I'd start by saying the movie was not what the trailer lead me to believe. This is not as much about scary moments or jump scare and more about a family coping with a lost child, and the movie trying to build suspense and just make the viewer feel uncomfortable. Because of this, I can see why some people will see it as really really slow with not much happening.

Some PLUSES for me: - Anya Taylor-Joy (the older daughter) is amazing in this movie and I also think Ralph Ineson (the father) did a good job. - the score is really really good, there are periods of intense silence and periods of creepy music at just the right times to build tension - the cinematography with nice wide shots combined with the score works really well in most moments

For the MINUSES: - I felt like the other child's acting was pretty bad and over the top and just took me out of the movie in most scenes where they are the focus (thankfully there were not THAT many) - a bit too slow of a pacing during the first half even for my taste

So, just like I said in the title, KNOW WHAT YOU'RE GETTING INTO. If you go and expect your typical horror movie with jump scares and a hidden 'baddie' slowly revealing itself along the movie in scary scenes, THIS IS NOT IT. This is mostly a family drama that tries to build suspense and make the viewer feel uneasy.

On a side note, I caught this on a premiere showing with a theatre half full and the occasional comments, coughs and even laughter from some 'individuals' took me out of some moments. If you do want to watch this in the cinemas, I would recommend waiting and going way past premieres and on a awkward day / time so you have the cinema close to empty. Or, if you have a sweet setup at home with a good sound system, I would just watch it at home.

Reviewed by M Thascalos 8 / 10


This is a story set in the early colonial period of New England. It has the authenticity of a well-researched historical drama, up to and including dialogue delivered in a period accent and vocabulary (softened a bit so that it's easy to understand). Instead of drawing on historical events, though, it draws on historical folklore -- it's the story of witchcraft afflicting a family, such as might have been told at the time.

The characters are a very believable, ordinary family, with the sorts of tensions and problems you'd expect from people living a hard and substantially isolated life after being exiled from the local colonial town. They also have period Calvinist attitudes, and the storytelling doesn't present an outsider's view of this or offer a modern commentary, but instead it just displays these attitudes and tells a story from the characters' standpoint.

Their reliance on period folklore means that it doesn't strictly follow modern horror movie tropes, either. It has the slow build of a modern psychological horror/thriller as well as the standard formula where tragedies start from tragic flaws, but the traditions it's drawing on depend on a Calvinist's conception of flaws, and treat witchcraft as a horrible, well-understood occurrence rather than a shocking supernatural surprise. This story applies these perspectives.

It's very well done in terms of writing, acting, and other aspects of execution, so it might have cross-over appeal to fans of horror, folklore, or straight period drama from colonial America.

Reviewed by Robert_Lovelace 9 / 10

Calvinist terrors abound in this fraught "folk tale"

"The Witch" charts a family of Calvinist dissenters in colonial America who are exiled from their community and homestead at the edge of an ominous forest. When the infant child of the family disappears inexplicably, a chain of increasingly bizarre events lead to claims of witchcraft and sorcery that implode the family.

Based on the plot summary, much about "The Witch" seems fairly predictable, and that's because it is. Robert Eggers makes no bones about reality or superstition here; this is, as it is branded, a "New England folktale" through and through. It's also allegorical on some levels, and is about an English family's failure to conquer the vast American frontier. Regardless of how it is read, the film's surface plays out like classic accounts of witchcraft and superstition that pervaded Puritan Calvinism in the seventeenth century.

What director Eggers does here is weave a taut and unsettling narrative through a series of meditative visuals and haunting encounters with evil--some have said not much happens in the film, and they're right--but is that the point of such a tale? The story is mediated through phenomenal performances that are the real emotional center of the film, while rare but fantastical occurrences with the supernatural jar the audience as much they do the family.

Eggers' direction is remarkable, and the cinematography consistently captures the gloom of a New England winter; close-ups show the younger children engaging with their ominous farm goat, while pans of characters venturing into the woods create a legitimate sense of danger--and that is another of the film's prevailing themes. In the film, the threat of danger lurks in all matter, be it in the natural environment, in doctrine, or the horrifying corporeal locus where the two meet.

Overall, "The Witch" is a surprising and moody entry in the horror genre for 2016; it is not only recalling classicism in its period setting and narrative, but also in its cinematic approach to storytelling. It is old-fashioned in just about every way, but is no less masterful at creeping into the skin as insidiously as evil does within the family. We feel their terror, their desperation, and their yearning for absolution; and that is what makes the film such an effective mood piece. 9/10.

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