The VVitch is a tortured descent into madness and hysteria

Fear is in the eye of the beholder in this jump scare free atmospheric horror

Occasionally, there is a film that is recommended to you time and time again that you, for some inconceivable reason, avoid watching. For me 2016 was the year of The Witch. It made an appearance on most best of the year lists and it came out in February, so why did it take me 14 months to finally sit down and watch The Witch?

Frankly, I don’t care why. I don’t care about much anymore. Not after seeing The Witch. I used up all my willpower powering through the last twenty minutes and I am now a husk.

The Witch is an atmospheric horror with the emphasis on atmosphere. It boasts a charcoal black tone and a slow creep of tension with a touch of phantasm. Aided by dimly lit, isolated locales and a tiny cast it is as low budget as can be, but also as low budget as it needs to be. It is a simple story of a family being tormented by a witch. That’s all there really is to say about the plot, the rest you can discover by yourself when you watch this amazing film.

The film’s greatest strength is its ability to construct fear as opposed to simply stating ‘here is the scary bit. You gasp now.’ Many movies mistake a jump scare as the payoff for building tension, Robert Eggers understands that the most terrifying payoff is one that is entirely constructed in the viewer’s mind. The Witch gives its viewers enough information to scare themselves with each new turn of the story without resorting to cheap tricks. The titular witch is revealed within the first ten minutes so it leaves no space for stupid clichés of the genre (“What was that?” “Probably just the wind” – “don’t be stupid, there’s no such thing as witches” etc etc)

There is a complete lack of jump scares and most the film’s power lies with the family unit that is being picked apart bit by bit. Like in The Shining, the film finds terror in the potential for family members to turn on each other. They search for meaning in God, the devil, fate and vengeance, all while the viewer knows its witchcraft. It’s a downward spiral of desperation and despair that only gets worse, and it’s fantastic.

It is held together by solid performances on all sides, Game of Thrones alumni Ralph Ineson and Kate Dickie play their roles with a terrifically level mix of faith and despair. Yet they are both outshined by Anya Taylor-Joy, who hopped right from this role to the lead role in M Night Shyamalan’s Split. She plays the eldest daughter Thomasin with a fantastically mature and expressive performance and will hopefully be seen in more roles like this soon.

The film combines the atmosphere of The Shining with the aesthetics of The Blair Witch Project. It is well shot and simple in its beauty and muted colour pallet. However, criticisms will come from those who find difficulty acclimatising to the film, the characters speak in olde English and live in the 17th century, hardly the most glamourous or accessible of settings. Yet the dialogue is simple and easy to understand and the effort acquired to fall into the film is easily worth it for the terror that proceeds it. I hear potential whispers of people possibly calling The Witch boring and I hear louder whispers of myself telling those people to go fuck themselves.

Recommendation

It’s a dark film, a slow film, it is unpleasant and hard to watch and it all comes together to create a perfect unity. All in the service of atmosphere and mood, it creates weighty moments of real drama and tragedy, getting into the heads of the characters with an incredible effectiveness.

One of the greatest examples of ‘feel-bad cinema’ I have ever seen. The music is filled with dread, but not dreadful, the mood is horrible to bare but incredible to watch. If you can appreciate a good atmosphere and a story well told, then you owe it to yourself to see The Witch. I have not yet been so close to giving out my first A+ grade

Passengers is sleek and polished on the surface but a muddled mess at its core

Passengers’ promising first act is let down by the avalanche of farce that proceeds it

Science fiction is experiencing a bit of a boom lately, no doubt boosted by the power of new Star Wars movies and ever increasing ‘nerd culture.’ But sci-fi is often expensive, CGI heavy and cerebral. Meaning that it can be a difficult genre for a studio to simply cash in on: for every District 9 there are at least ten Battleships. So how can a studio ensure that a generic conglomeration of popular sci-fi tropes and unoriginal visuals makes a sensible profit? Why, of course, by sticking two of the biggest stars on the planet in a spaceship and ensuring that they fuck each other, so they can show it in the trailer. Unfortunately for desperate corporate ploys to capitalise on market research, Passengers has not been the breakout success that was hoped for.

Passengers is a film starring Chris Pratt and Jennifer Lawrence as passengers aboard The Avalon. The ship is taking 5000 paying customers to another planet to escape the husk that the Earth has become, the two wake up 90 years earlier than other passengers and cannot get themselves back into stasis, leaving them stranded on The Avalon together. One positive thing to say about Passengers is that it is at least an original story rather than a reboot or a sequel. However, a negative thing to say about Passengers is that there doesn’t seem to be many original ideas in it outside of its premise. The visuals are refined and clean but unfortunately seem to be almost entirely taken directly from previously successful sci-fi films; Alien, Prometheus and 2001: A Space Odyssey being the three main examples. References and inspiration can be a good thing but too many of them and the film just begins to feel like a stale rehash.

It is not only in the visuals that Passengers feels unoriginal. It also borrows several moments almost verbatim from recent films such as Gravity, Guardians of the Galaxy and The Martian. Now that is not to say that sci-fi has to be 100% original, in fact in most cases it is common to repeat successful movies’ motifs, but Passengers does this with so much frequency that it becomes a Frankenstein’s monster made up of mostly of other films dramatic beats.

The film is a tonal mess that appears to not know whether or not it should take itself seriously and when humour is appropriate. Starring Chris Pratt means that there will of course be comic elements but the film produces what seem like unintentional moments of comedy through strange editing choices and inappropriate dialogue. Jennifer Lawrence’s character Aurora interrupts a sweet romantic moment by stopping mid-laughter and stating in the most deadpan way “for a minute I almost forgot my life is in ruins” and Aurora continues to be an incessant downer for the rest of the movie. The film contains comical pratfalls, facial expressions that would make the Wayan bros blush and a hilariously tactless robot doctor, none of which were intended to be funny. Unless they were, in which case the film should have just been a comedy.

What disappoints me so much about the film is that it is possible that there was at least one good film in there somewhere. There is a heavy theme of isolation a ’la The Shining, blatantly displayed by Michael Sheen’s android bartender, Arthur. This seems to be setting the film up as a psychodrama about a man lost in space slowly losing his sanity. The film jumps straight from this sort of heavy subject matter to a Risky Business/Home Alone style montage and immediately back into goofy comedy. Followed by the introduction of a genuinely tough moral choice and some significant character development the film fails to develop on the ideas and instead turns into a romance before turning back into the most generic sci-fi film possible. The film had set itself up as a combination of Moon and Misery which could have resulted in an interesting film. Instead the second half of the film falls into complete farce, sprinkled with plot holes, Deus-ex-Machina and hilariously bad writing.

Recommendation

There are parts of Passengers that are so bad that they are comical, but not enough to justify watching purely for its shortcomings. The film is a tonal mess with incredibly high production quality, unfortunately poor writing cannot be hidden behind CGI.

There are flashes of three disparate films in Passengers, one a moral dilemma based romance, the second a nervy psychodrama and the final is a by the numbers generic sci-fi. There is enough to like within the film but unfortunately there is way too much space in between it all.