Review: The Witch

Year: 2015 (U.K Threatical Release 2016)
Director: Robert Eggers
Screenplay: Robert Eggers
Starring: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, Lucas Dawson

Synopsis is here:

There’s not many horror films that trouble the mind like The Witch. In fact, I celebrate the sheer audacity of its execution as well as Eggers’ faith with the audience. Films like this are destined to be cult. This is not The Conjuring (2013) or Insidious (2010), which lean heavily on loud bangs and jump scares. The Witch is a film that is a triumph of tone. Establishing the same sense of dread that lies in films such as Blood on Satan’s Claw (1971), The Devils (1971) and The Witchfinder General (1968). As we follow this excommunicated Puritan family forced into braving an unforgiving terrain with only the word of god by their side, we discover that what makes The Witch tick is the anxiety that stems from the character's suspicions.

Uncertainly is ensured as the fear, distrust and religion slowly bleed into each other. A child goes missing, crops wither, animals start playing up. Has God forsaken this family? Is it just dumb luck?  It becomes clear that the eldest child; Thomasin, is beginning to grow into womanhood. This alone causes serious issues between the family. Is it just budding sexuality through? Are we in the presence of Witches?

This unflinching portrayal of this disintegrating Puritan family unit lead by an immensely cagey performance by doe eyed Anya Taylor-Joy works simply because the cast is so committed to the situation. Eggers has stated that he was influenced by The Shining (1980) and that certainly shows, yet the disorientation and gradual shutting down of trust and mental defenses feel familiar to the likes of The Blair Witch Project (1999). Characters so devoted to their faith that it’s hard not to care for them when things go bump in the night.

The cast is helped on by assured direction from Eggers. Together with cinematographer Jarin Blaschke and composer Mark Korven, Eggers creates an environment in which a simple shot of a rabbit feels more discomforting than it should. A film made for a budget of $1 million dollars, the film constantly looks and feels like more money was placed in the kitty. The attention to detail is substantial.

The Witch could have possibly gone with being a little more ambiguous. While the film takes a slow ride towards its strange ending, it does reveal a tad too much of itself early on, minimising the curiosity somewhat. Meanwhile the film’s final moments to indulge more than some may need. This doesn’t stop the fact that The Witch is still rather bold in its execution. The film’s drained muddy colour palette and unsettling score do far more to unnerve than the latest “Lawton Bus” scares that will infiltrate in the next mainstream chiller.

I’m quite sure that despite raking in a decent box office take, The Witch probably spilt audiences 30/70 in terms of agreeable opinion. I do feel however that those in the favourable camp no doubt found The Witch to be a refreshing alternative horror which rewards followers who want to place a bit more thought in their horror films.

Review: A Field in England

Year: 2013

Director: Ben Wheatley

Screenplay: Amy Jump

Starring:  Reece Shearsmith, Michael Smiley, Julian Barratt, Peter Ferdinando, Richard Glover, Ryan Pope

Synopsis is here

Ben Wheatley is a British director I really admire. A confident filmmaker who enjoys bending genres and challenging the typical ideals that British film often stumbles into. A Field in England; his fourth feature was one of the 2013’s entries I had a large investment in, purely based on the strength of his previous works. Even the idea behind it had me hooked. A black and white, psychedelic nightmare set during the 17^th Century is the type of English period drama I’ll happily get behind (do I look like I watch Downton?).

Much of A Field in England’s buzz stemmed more from its multi-platform release structure. The films makers decided upon releasing the film not only in cinemas, but on video on demand and DVD all on the same day. An idea that we’re slowly seeing more of (albeit in alternative forms: see Sodenbergh’s Bubble as an example) but never to this extent with a U.K release.  Questions were raised on whether this had to do with the niche aspect of the film, or if the film industry can really spark a trend towards such releases. Particularly as many have become more drawn to the idea of home viewing since the quality of their film going experience has been on the decline.  

I viewed the film coming back from work; I popped into my local supermarket and gained some credit on the stores very popular point system. For me it was easier for me to view it this way as the cinemas just due to time and travel. I love going to the cinema but I see the benefits.

However, A Field in England’s release structure seems more to be about casting its range as far as possible due to film’s obtrusiveness than starting a trend. The film’s black and white aesthetic is not the only thing that will put more casual viewers off. A Field in England clearly shows maturation of craft and boldness which British cinema needs, but at the expense of losing the connection carefully built from previous films.

The film feels reminiscent of the works of Ingmar Bergman, as well as the likes of Blood on Satan’s Claw (1970) and Witchfinder’s General (1968). The look of Michael Smiley’s O’Neill has shades of Vincent Price’s Matthew Hopkins written all over it. While the unsettling imagery of characters bound by thick rope against their will, is deeply rooted in folk horror. A sense of dread begins to form within the film. Something that the British horror of the 70’s and Wheatley’s own Kill List were much quicker at bring about. The first act often feels more of an exercise of form, than anything else. There is a sense of irony throughout the film as it uses its period setting and cast to cut into very seemingly modern question class and male bonding but none of it feels truly substantial, although Amy Jump does not get enough credit for an often witty script with some wry exchanges placed within it.

Some nice moments are scattered throughout (the tableau style poses, Shearsmith’s phenomenal body language) while more of the outlandish visions begin to seep during the second half with a more unsettling mood coming with it. Yet it all seems a tad too late. The sense of lost futility these men face can be felt by the time the film steps up a gear, but nothing hits as hard as the wedding sequence with Witchfinder General, in which the unfortunate couple of the piece make their own vows within a vandalised church, highlighting the conservative conflict that lies within the folk horror movement (see also The Wicker Man).

So I held my breath embraced the fear and let the Devil in and yet I came out relatively unscathed. Some of A Field in England still tickles me, and there’s good chance I’ll let more of it consume me on a second viewing. I'm not sure however, on whether this is because I brought it on DVD or not.