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The Witch
Theatrical release poster
Directed byRobert Eggers
Written byRobert Eggers
Produced by
  • Rodrigo Teixeira
  • Daniel Bekerman
  • Lars Knudsen
  • Jodi Redmond
  • Jay Van Hoy
Starring
CinematographyJarin Blaschke
Edited byLouise Ford
Music byMark Korven
Production
companies
  • Parts and Labor
  • RT Features
  • Rooks Nest Entertainment
  • Maiden Voyage Pictures
  • Mott Street Pictures
  • Code Red Productions
  • Scythia Films
  • Pulse Films
  • Special Projects
Distributed by
Release dates
  • January 27, 2015 (2015-01-27) (Sundance)
  • February 19, 2016 (2016-02-19) (United States)
Running time
93 minutes[1]
Countries
LanguageEarly Modern English
Budget$4 million[5]
Box office$40.4 million[6]

The Witch (stylized as The VVitch, and subtitled A New-England Folktale) is a 2015 period supernatural horror film written and directed by Robert Eggers in his feature directorial debut. It stars Anya Taylor-Joy (in her first film appearance), Ralph Ineson, Kate Dickie, Harvey Scrimshaw, Ellie Grainger, and Lucas Dawson. Set in the 1630s, it follows a Puritan family who encounter forces of evil in the woods beyond their New England farm.[7]

An international co-production of the United States and Canada, The Witch premiered at the Sundance Film Festival on January 27, 2015, and was widely released by A24 on February 19, 2016. It received critical acclaim and was a box office success, grossing $40 million against a $4 million budget.[6]

Plot

In 1630s New England, English settler William and his family—wife Katherine, daughter Thomasin, son Caleb, and fraternal twins Mercy and Jonas—are banished from a Puritan colony over a religious dispute. The family builds a farm near a large, secluded forest and Katherine bears her fifth child, Samuel. One day, when Thomasin is playing peekaboo with Samuel, the baby abruptly disappears. It is soon revealed that a witch has stolen the unbaptized Samuel, killing him and using his body to make a flying ointment.[8][9]

Katherine, devastated by Samuel's abduction, spends her days crying and praying. While hunting with William, Caleb questions whether Samuel's unbaptized soul will reach Heaven. William discloses to Caleb that he traded Katherine's prized silver cup for hunting supplies. That night, Katherine questions Thomasin about the disappearance of the cup and suspects her to be responsible for Samuel's disappearance. The children overhear their parents discuss sending Thomasin away to serve another family.

Later, Thomasin finds Caleb preparing to check a trap in the forest, and forces him to take her with him by threatening to awaken their parents. In the woods, they spot a hare, which sends their horse into a panic. Their dog Fowler gives chase to the hare, and Caleb pursues them. The horse throws Thomasin, knocking her unconscious, and runs away. Caleb becomes lost in the woods and stumbles upon Fowler's disemboweled body. He then discovers a hovel, from which the witch disguised as a beautiful woman emerges to seduce him. She kisses and embraces Caleb, her arm growing old and withered as she caresses his head.

William finds Thomasin and takes her home, and Katherine angrily chastises her for taking Caleb into the woods. William reluctantly admits that he sold the cup. Later that night, as a storm rages, Thomasin discovers Caleb outside the home, nude, delirious, and mysteriously ill. The next day, the twins converse and sing songs with Black Phillip, the family's billy goat, and accuse Thomasin of witchcraft. Thomasin attempts to milk the nanny goat, only to get blood. When Caleb awakens, he vomits up a whole apple with a single bite taken out of it. Katherine urges the family to pray, but the twins claim to forget the proper words and become unresponsive. Caleb passionately proclaims his love for Christ and dies.

William, believing Thomasin to be a witch, tells her she will be put on trial when the family returns to town. Thomasin points out William's own sins and accuses the twins in retaliation. Enraged, William seals the children in the goat house. Thomasin denies being a witch, but the twins do not answer when she asks if they have truly spoken with Black Phillip. Thomasin overhears William breaking down and confessing to God that he has been prideful, and that he made his family leave their village out of stubbornness rather than sincere religious devotion. Later in the night, the children awaken to see the witch drinking blood from the nanny goat, which turns to attack the twins. Meanwhile, Katherine has a hallucinatory vision of Caleb holding Samuel. Caleb offers the baby to her and asks if she will look at a book. She chooses to breastfeed the baby, but it is actually a raven that pecks at her breast, leaving her bloody in the morning.

William awakens and finds the stable destroyed, the goats eviscerated, the twins missing, and an unconscious Thomasin lying nearby with bloodstained hands. As Thomasin awakens, Black Phillip gores and kills William before her eyes. An unhinged Katherine, now blaming Thomasin for the tragedies that have befallen the family and accusing her of seducing William and Caleb, attacks her. Thomasin kills her mother with a bill hook in self-defense while crying.

Now alone, Thomasin hears chiming and enters the stable, where she urges Black Phillip to speak to her. The goat responds with a human voice, asking if she would like to "live deliciously," in a life of luxury, and materializes into a tall, black-clad man. He tells Thomasin to remove her clothes and sign her name in a book that appears before her. Thomasin follows Black Phillip into the forest nude, where she joins a coven holding a Witches' Sabbath around a bonfire. The witches begin to levitate, and Thomasin joins them laughing maniacally, and ascending above the trees.

Cast

Production

Development

Eggers, who was born in New Hampshire, was inspired to write the film by his childhood fascination with witches and frequent visits to the Plimoth Plantation as a schoolboy. After unsuccessfully pitching films that were "too weird, too obscure", Eggers realized that he would have to make a more conventional film.[11] He said at a Q&A, "If I'm going to make a genre film, it has to be personal and it has to be good."[11] The production team worked extensively with British and American museums, as well as consulting experts on 17th-century British agriculture.[12] Eggers wanted the set constructed to be as historically accurate as possible, and therefore brought in a thatcher and a carpenter from Virginia and Massachusetts respectively who had the proper experience building in the style of that period.[13]

Eggers wanted to film the picture on location in New England but the lack of tax incentives meant he had to settle for Canada.[11] This proved to be something of a problem for Eggers, because he could not find the forest environment he was looking for in the country.[11] They had to go "off the map", eventually finding a location (Kiosk, Ontario) that was "extremely remote"; Eggers said that the nearest town "made New Hampshire look like a metropolis".[11]

The casting took place in England, as Eggers wanted authentic accents to represent a family newly arrived in Plymouth.[14]

Filming

To give the film an authentic look, Eggers shot only "with natural light and indoors, the only lighting was candles". He also chose the spelling of the film's title as "The VVitch" (with two Vs instead of W) in its title sequence and on posters, stating that he found this spelling in a Jacobean-era pamphlet on witchcraft, and in other period texts.[15]

In December 2013, costume designer Linda Muir joined the crew, and consulted 35 books in the Clothes of the Common People in Elizabethan and Early Stuart England series to plan the costumes, which were made with wool, linen and hemp. She also lobbied for a larger costume budget.[16] A troupe of Butoh dancers played the coven of witches at the end of the film, creating their own choreography.

Music

Mark Korven wrote the film's score, which aimed to be "tense and dissonant" while focusing on minimalism. Eggers vetoed the use of any electronic instruments and "didn't want any traditional harmony or melody in the score"; so Korven chose to create music with atypical instruments, including the nyckelharpa and waterphone. He knew the director liked to retain a degree of creative control, so he relied on loose play centered on improvisation "so that [Eggers] could move notes around whenever he wanted".[17][18]

Themes

According to analysts,[who?] the film transcends the traditional horror genre and enters a potential new category, nicknamed "elevated horror".[19] Its impact is delivered not through scares, but by the effect of ambience and scenography.[20][21] This is stylistically represented by the film's use of expressionist lighting, the use of different kinds of camera to draw thematic limits, the editing employed to hide horror from the main sight, and the soundtrack's sonic dissonance accompanying instrumental scenes.[22] Samuel's physically impossible disappearance at the beginning of the film introduces the viewer to the film's atmosphere.[20]

Linda maestra by Francisco de Goya, 1799

The film's plot orbits around a psychological conflict, using a repressive, patriarchal portrayal of Puritan society and the dark, murderous liberation of the witches.[23] The main female character, Thomasin, harbors worldly desires that differ from those of her conventionally Christian family,[24] yearning for independence,[23][25] sexuality,[26] acceptance[27][26] and power.[27][26] However, while her father and the Christian God fail to fulfill her needs, Satan instead speaks personally to her, offering her earthly satisfaction.[28] Therefore, with the demise of her family and the rejection of the Puritan society, Thomasin joins Satan and the witches, her only alternative, in order to find her long desired control over her own life.[29] Her nudity in the last scene reflects her act of casting out the bonds of her previous society.[25]

The difference between both options, nevertheless, is rendered blurred in an evocation of equal religious extremism.[30][26] This is first felt in the architecture of the family's own home, which ironically resembles an archetypal witch's cottage itself, hinting the gradual reveal that evil is already installed in them.[25] On the opposite side, Satan's temptation of Thomasin also acquires traits of ideological grooming, slowly alienating her from her family.[27][31] At the end, despite her newfound cause and ecstatic laugh at the coven, Thomasin has not escaped her previous religiosity, but merely changed its direction, turning to murder in exchange for freedom.[25][32]

The symbolic conflict between civilization and nature is also present in all the aspects of the film.[33] The family lives next to a dark forest, a place tied to witchcraft in their culture, which underlines the conflict between their civilized, patriarchal religion and the Gothic, wild natural world that surrounds them.[34] The forest, as well as the state of nudity,[25] are associated with monstrosity, with the untamed wilderness where the forbidden liberation and sexuality emerge.[23][33][35] Accordingly, Caleb returns nude after being seduced by the witch, the witches themselves perform their acts while naked, and Thomasin eventually adopts this code upon joining them.[25] At the end of the film, nature triumphs over its adversary, with the Pan-like Black Phillip goring the axe-wielding William in a metaphor of man being consumed by the wild.[36]

Release

The film had its world premiere at the 2015 Sundance Film Festival, on January 27, 2015.[37][38] The film was also screened in the Special Presentations section of the 2015 Toronto International Film Festival, on September 18, 2015.[39][40] A24 and DirecTV Cinema acquired distribution rights to the film.[41] The film received very positive reactions in advance screenings, so the studios decided to give the film a wide theatrical release in the United States, on February 19, 2016.[42][43]

The film was released on Blu-ray and digital HD on May 17, 2016, in the United States.[44] The discs' extras include outtakes, audio commentary, a documentary—The Witch: A Primal Folktale, which summarizes the cast and crew's making of the film—and a 30-minute question-and-answer session filmed in Salem, Massachusetts featuring director Eggers, lead actress Anya Taylor-Joy, and historians Richard Trask and Brunonia Barry.[45] A 4K Ultra HD Blu-ray was released on April 23, 2019.[46]

Reception

Box office

The Witch grossed $25.1 million in the United States and Canada and $15.3 million in other territories for a worldwide total of $40.4 million.[6]

In the United States and Canada, the film was released alongside Risen and Race, and was projected to gross $5–7 million from 2,046 theaters in its opening weekend.[47] It made $3.3 million on its first day, and $8.8 million in its opening weekend, finishing fourth at the box office behind Deadpool ($56.5 million), Kung Fu Panda 3 ($12.5 million), and Risen ($11.8 million).[48]

Critical response

On Rotten Tomatoes, the film holds an approval rating of 90% based on 331 reviews, with an average rating of 7.8/10. The website's critical consensus reads, "As thought-provoking as it is visually compelling, The Witch delivers a deeply unsettling exercise in slow-building horror that suggests great things for debuting writer-director Robert Eggers."[49] Metacritic reports a weighted average score of 83 out of 100, based on 46 critics, indicating "universal acclaim".[50] Audiences polled by CinemaScore gave the film an average grade of "C–" on an A+ to F scale, while PostTrak reported filmgoers gave it a 55% overall positive score and a 41% "definite recommend".[48]

Writing in Variety, Justin Chang commented that "A fiercely committed ensemble and an exquisite sense of historical detail conspire to cast a highly atmospheric spell in The Witch, a strikingly achieved tale of a mid-17th-century New England family's steady descent into religious hysteria and madness."[51] Yohana Desta of Mashable stated that The Witch is a "stunningly crafted experience that'll have you seeking out a church as soon as you leave the theater".[52] Peter Travers, in his Rolling Stone review, gave the film 3½ stars, and wrote of the film: "Building his film on the diabolical aftershocks of Puritan repression, Eggers raises The Witch far above the horror herd. He doesn't need cheap tricks. Eggers merely directs us to look inside."[53] Stephanie Zacharek summarized the movie in Time as "a triumph of tone", writing that "Although Eggers is extremely discreet—the things you don't see are more horrifying than those you do—the picture's relentlessness sometimes feels like torment."[54] Gregory Wakeman, writing for CinemaBlend, rated it five stars, writing that "[its] acting, lighting, music, writing, production design, cinematography, editing, and direction all immediately impress. While, at the same time, they combine to create an innately bewitching tale that keeps you on tenterhooks all the way up until its grandiose but enthralling finale."[55] Ann Hornaday wrote in The Washington Post that the film joins the ranks of horror films such as The Exorcist, The Omen, and Rosemary's Baby, saying that The Witch "comports itself less like an imitator of those classics than their progenitor... a tribute to a filmmaker who, despite his newcomer status, seems to have arrived in the full throes of maturity, in full control of his prodigious powers."[56] Independent filmmaker Jay Bauman of RedLetterMedia named it his favorite film of 2016, enthusiastically stating "I love it, I think it's a masterpiece... It's a first-time filmmaker which is shocking to me... because it feels like it's made by someone who's been making movies for decades who's a master of their craft".[57]

However, some critics as well as audiences were less pleased with the film; Ethan Sacks, of the New York Daily News, wrote that while the film does not suffer from the cinematography, acting, or setting, early on it "seems that The Witch is tapping a higher metaphor for coming of age...or religious intolerance...or man's uneasy balance with nature...or something. It doesn't take long into the film's hour and a half running time, however, to break that spell."[58] Critics have noted that the film has received backlash from audiences regarding the film's themes and slow approach to horror;[59] Lesley Coffin criticized A24, saying it was "a huge mistake" to market The Witch as a terrifying horror film:

Not because it doesn't fit into the genre of horror, but because of the power of expectations. The less you know about this movie the better your experience will be, but everyone who saw it opening weekend probably walked in with too much knowledge and hype to really get as much out of it as they could have if the film had the veil of mystery.[60]

HitFix writer Chris Eggertson was critical of mainstream Hollywood; he said that The Witch "got under [his] skin profoundly", though he argued that it "did not have the moment-to-moment, audience-pleasing shocks that moviegoers have become accustomed to thanks to movies like Sinister and The Purge and Paranormal Activity and every other Blumhouse and Platinum Dunes title in the canon."[61]

Horror authors Stephen King and Brian Keene both reacted positively towards the film; King tweeted significant praise for the film, stating, "The Witch scared the hell out of me. And it's a real movie, tense and thought-provoking as well as visceral",[62] while Keene, on social media, stated, "The Witch is a gorgeous, thoughtful, scary horror film that 90% of the people in the theater with you will be too stupid to understand."[63]

Religious

Julia Alexander of Polygon states that The Witch "asks people to try and understand what life would have been like for a family of devout Christians living in solitude, terrified of what may happen if they go against the word of God".[64] In The Atlantic, Alissa Wilkinson stated that many films featured at the 2015 Sundance Film Festival—The Witch, along with Last Days in the Desert, Don Verdean, and I Am Michael—reveal a "resurgence of interest in the religious" and described The Witch as "a chilling circa-1600 story of the devil taking over a devout, Scripture-quoting family".[65] Eve Tushnet commented in an article in TAC, which was also published in First Things, that The Witch's view of witchcraft is "not revisionist" and further states that the film is "pervaded by the fear of God. There are occasional references to His mercy but only as something to beg for, not something to trust in".[66][67]

A review by Adam R. Holz on Plugged In, a publication of the conservative Christian organisation Focus on the Family, heavily criticised the film, stating that:

William is absolutely devoted to leading his family in holiness and the ways of the Lord, which should be a good thing. But the fruit of William's rigorous focus on dogmatic piety isn't a lifting of burdens, which we're told should happen in Matthew 11:30, or a joyful celebration of living life to the fullest, as is referenced in John 10:10; rather, it is deep fear and morbid meditations on hell, damnation and the forces of spiritual darkness.[68]

Josh Larsen of Think Christian, however, offered a Christian explanation of the conclusion of the film, stating that in "encountering evil, the family in the film veers wildly back and forth between 'triumphalism' and 'defeatism,' two theological extremes" and "in refusing to allow for grace, they become easy pickings for the witch".[69]

Emily VanDerWerff of Vox stated that:

A24 could have just as easily courted the approval of, say, theologians who have a fondness for Calvinism. The VVitch takes place in Colonial America, and it unfolds from the perspective of period Christians who genuinely believe the woods around their tiny farm contain some sort of evil, supernatural being—and are ultimately proved correct.[70]

Accolades

List of awards and nominations
Award Date of ceremony Category Recipient(s) Result Ref.
Austin Film Critics Association December 28, 2016 Best First Film The Witch Won [71][72]
Breakthrough Artist Award Anya Taylor-Joy Nominated
Boston Society of Film Critics December 11, 2016 Best New Filmmaker Robert Eggers Won [73]
Bram Stoker Awards April 29, 2017 Superior Achievement in a Screenplay Robert Eggers Won [74]
Chicago Film Critics Association December 15, 2016 Best Art Direction The Witch Nominated [75]
Most Promising Filmmaker Robert Eggers Won
Critics Choice Awards December 11, 2016 Best Sci-Fi/Horror Movie The Witch Nominated [76]
Empire Awards March 19, 2017 Best Horror The Witch Won [77]
Best Female Newcomer Anya Taylor-Joy Won
Fangoria Chainsaw Awards October 2, 2017[78] Best Film The Witch Won [78]
Best Actress Anya Taylor-Joy Won
Best Supporting Actor Ralph Ineson Nominated
Best Score Mark Korven Nominated
Golden Tomato Awards January 12, 2017 Best Horror Movie 2016 The Witch Won [79]
Golden Trailer Awards May 4, 2016 Best Horror "Family" Won [80]
Best Horror TV Spot "Life" Nominated
Best Sound Editing in a TV Spot "Paranoia" Won
Gotham Awards November 28, 2016 Breakthrough Actor Anya Taylor-Joy Won [81]
Bingham Ray Breakthrough Director Award Robert Eggers Nominated
Independent Spirit Awards February 25, 2017 Best First Screenplay Robert Eggers Won [82]
Best First Feature Robert Eggers, Daniel Bekerman, Jay Van Hoy, Lars Knudsen, Jodi Redmond and Rodrigo Teixeira
London Film Critics' Circle January 22, 2017 Young British/Irish Performer of the Year Anya Taylor-Joy (also for Morgan and Split) Nominated [83]
London Film Festival October 18, 2015 Sutherland Award Robert Eggers Won [84]
Festival international du film fantastique de Gérardmer January 31, 2016 Prix du jury SyFy The Witch Won [85]
New York Film Critics Online December 11, 2016 Best Debut Director Robert Eggers Won [86]
Online Film Critics Society January 3, 2017 Best Picture The Witch Nominated [87]
San Diego Film Critics Society December 12, 2016 Breakthrough Artist Anya Taylor-Joy Nominated [88][89]
San Francisco Film Critics Circle December 11, 2016 Best Production Design Craig Lathrop Nominated [90][91]
Saturn Awards June 28, 2017 Best Horror Film The Witch Nominated [92]
Best Performance by a Younger Actor Anya Taylor-Joy Nominated
Seattle Film Critics Society January 5, 2017 Best Picture of the Year The Witch Nominated [93][94]
Best Director Robert Eggers Nominated
Best Cinematography Jarin Blaschke Nominated
Best Costume Design Linda Muir Nominated
Best Youth Performance Anya Taylor-Joy Won
Harvey Scrimshaw Nominated
Best Villain Charlie and Wahab Chaudary (as Black Phillip) Nominated
St. Louis Gateway Film Critics Association December 18, 2016 Best Horror/Science-Fiction Film The Witch Won [95]
Sundance Film Festival February 1, 2015 Directing Award Robert Eggers Won [96]
Grand Jury Prize Robert Eggers Nominated
Toronto Film Critics Association December 11, 2016 Best First Feature The Witch Won [97]
Washington D.C. Area Film Critics Association December 5, 2016 Best Youth Performance Anya Taylor-Joy Nominated [98]
Best Art Direction Craig Lathrop Nominated

See also

References

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  2. ^ "The Witch". Sundance institute. Retrieved February 18, 2020.
  3. ^ Grierson, Tim (January 24, 2015). "The Witch". Screen Daily. Retrieved May 8, 2016.
  4. ^ "Record-breaking year for Canada at the 2015 Sundance Film Festival". Telefilm Canada. January 14, 2015. Archived from the original on August 16, 2016. Retrieved May 8, 2016.
  5. ^ "2016 Feature Film Study" (PDF). Film L.A. Inc. May 2017. Retrieved June 29, 2017.
  6. ^ a b c "The Witch (2016)". Box Office Mojo. Retrieved August 24, 2016.
  7. ^ Wickman, Forrest (February 23, 2016). "All The Witch's Most WTF Moments, Explained: A Spoiler-Filled Interview With the Director". Slate. Retrieved September 10, 2019.
  8. ^ Wickman, Forrest; Eggers, Robert (February 23, 2016). "All The Witch's Most WTF Moments, Explained: A Spoiler-Filled Interview With the Director". Slate. Retrieved February 29, 2016.
  9. ^ "'The Witch': A holy terror, set in 1630". 18 February 2016.
  10. ^ Abramovitch, Seth (March 2, 2016). "Black Phillip: The Real Story Behind the Breakout Goat From 'The Witch'". The Hollywood Reporter. Retrieved February 12, 2017.
  11. ^ a b c d e Anielski, Ryan (October 21, 2015). "How Robert Eggers Combined History and Childhood Horrors in 'The Witch'". IndieWire. Retrieved February 9, 2016.
  12. ^ Bitel, Anton (March 11, 2016). "Voices of the Undead: Robert Eggers on The Witch". Sight & Sound. British Film Institute. Retrieved April 17, 2016.
  13. ^ Crucchiola, Jordan (February 20, 2016). "How The Witch's Director Made His Film So Terrifying". Wired. Retrieved July 9, 2020.
  14. ^ Smith, Nicola (March 18, 2016). "New Hampshire Director Sifts His Home Soil". Valley News. Retrieved July 22, 2018.
  15. ^ Bloom, Jessica (March 15, 2016). "Designer-Turned-Director Robert Eggers Discusses His Horror Film 'The Witch'". Format. Retrieved September 26, 2016.
  16. ^ Ankenbauer, Sam (May 27, 2016). "Dressing The Witch: An Interview with Costume Designer Linda Muir". Bright Lights Film Journal. Retrieved March 24, 2017.
  17. ^ Barkan, Jonathan (February 26, 2016). "We Interviewed Composer Mark Korven About His Terrifying Score for 'The Witch'". Bloody Disgusting. Retrieved July 24, 2017.
  18. ^ Fusco, Jon (September 16, 2016). "How Mark Korven Avoided the Temptations of Temp Music to Score 'The Witch'". No Film School.com. Retrieved August 5, 2017.
  19. ^ Hart (2019), p. 81-88.
  20. ^ a b Hart (2019), p. 85.
  21. ^ Parker (2020), p. 180.
  22. ^ Hart (2019), p. 85-86.
  23. ^ a b c Hart (2019), p. 87.
  24. ^ Bacon (2019), p. 77, 78.
  25. ^ a b c d e f Parker (2020), p. 182.
  26. ^ a b c d Fry (2019), p. 173-174.
  27. ^ a b c Bacon (2019), p. 76.
  28. ^ Bacon (2019), p. 78.
  29. ^ Fry (2019), p. 174.
  30. ^ Bacon (2019), p. 76, 78-79.
  31. ^ Fry (2019), p. 173.
  32. ^ Bacon (2019), p. 79.
  33. ^ a b Parker (2020), p. 181.
  34. ^ Parker (2020), p. 181-183.
  35. ^ Fry (2019), p. 172.
  36. ^ Parker (2020), p. 183.
  37. ^ "Sundance Institute Announces Films in Premieres and Documentary Premieres for 2015 Sundance Film Festival". Sundance Institute. December 8, 2014. Retrieved February 16, 2016.
  38. ^ "The Witch". Sundance Film Festival. Retrieved February 16, 2016.
  39. ^ Punter, Jennie (August 18, 2015). "Sandra Bullock's 'Our Brand Is Crisis,' Robert Redford's 'Truth' to Premiere at Toronto". Variety. Retrieved September 28, 2015.
  40. ^ "The Witch". TIFF.net. Archived from the original on January 24, 2016. Retrieved February 16, 2016.
  41. ^ Sneider, Jeff (January 24, 2015). "Sundance: A24, DirecTV Buy Robert Eggers' 'The Witch' (Updated)". TheWrap. Retrieved February 16, 2016.
  42. ^ Lang, Brent (February 17, 2016). "Box Office: 'Deadpool' Still a Juggernaut; 'The Witch' Generating Heat". Variety. Retrieved February 27, 2016.
  43. ^ D'Alessandro, Alexander (February 19, 2016). "'Deadpool' Destroying Rivals With $56M Weekend; 'Risen' Burning 'Witch'". Deadline Hollywood. Retrieved February 20, 2016.
  44. ^ "The Witch". DVDsReleaseDates.com. Retrieved May 7, 2016.
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  46. ^ "The Witch 4K Blu-ray (4K Ultra HD + Blu-ray + Digital)".
  47. ^ D'Alessandro, Anthony (February 17, 2016). "'Deadpool' Still Cool In Weekend 2 With Superhero Set To Pass $200M – Box Office Preview". Deadline Hollywood. Retrieved July 31, 2019.
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  49. ^ "The Witch (2016)". Rotten Tomatoes. Fandango Media. Retrieved September 10, 2021.
  50. ^ The Witch at Metacritic
  51. ^ Chang, Justin (January 23, 2015). "Sundance Film Review: 'The Witch'". Variety. Retrieved September 8, 2015.
  52. ^ Desta, Yohana (February 18, 2016). "'The Witch' is a film so f*cked up, Satan would see it twice". Mashable.com. Retrieved February 21, 2016.
  53. ^ Travers, Peter (February 18, 2016). "'The Witch' Movie Review". Rolling Stone. Retrieved April 26, 2016.
  54. ^ Zacharek, Stephanie (February 16, 2016). "'The Witch' Movie Review: A Supercreepy New England Folktale". TIME. Retrieved April 26, 2016.
  55. ^ Wakeman, Gregory (January 2015). "The Witch". Cinemablend. Retrieved April 26, 2016.
  56. ^ Hornaday, Ann (February 18, 2015). "17th-century horror film 'The Witch' creeps you out long after credits roll". The Washington Post. Retrieved April 26, 2016.
  57. ^ Stoklasa, Mike; Bauman, Jay (December 3, 2016). "Half in the Bag Episode 120: 2016 Movie Catch-up". Half in the Bag. Retrieved May 5, 2021.
  58. ^ Sacks, Ethan (February 17, 2016). "'The Witch' casts a spell on critics though it's not good". New York Daily News. Retrieved April 26, 2016.
  59. ^ "Is The Witch Really a Horror Movie?". MoviePilot.com. February 18, 2016. Archived from the original on March 4, 2016. Retrieved April 26, 2016.
  60. ^ Coffin, Lesley (February 22, 2016). "The Witch Review: Beware of High Expectations". The Mary Sue. Retrieved April 26, 2016.
  61. ^ Eggertsen, Chris (February 22, 2016). "Why do so many horror fans hate The Witch?". Uproxx. Archived from the original on March 2, 2016. Retrieved October 29, 2021.
  62. ^ Miska, Brad (February 16, 2016). "'The Witch' Scared the Hell Out of Stephen King!". Bloody Disgusting. Retrieved April 26, 2016.
  63. ^ Keene, Brian [@BrianKeene] (February 21, 2016). "THE WITCH is a gorgeous, thoughtful, scary horror film that 90% of the people in the theater with you will be too stupid to understand" (Tweet). Retrieved April 26, 2016 – via Twitter.
  64. ^ Alexander, Julia (February 17, 2016). "The Witch review: A terrifying tale of depravity". Polygon. Retrieved February 23, 2016.
  65. ^ Wilkinson, Alissa (March 18, 2015). "Can Indie Filmmakers Save Religious Cinema?". The Atlantic. Retrieved February 23, 2016. Last Days in the Desert was the obvious "Bible film" at this year's Sundance. But the festival's lineup revealed a resurgence of interest in the religious: In Don Verdean, an affectionately satirical comedy, Sam Rockwell stars as a "Biblical archaeologist" who becomes a pawn in a war between two rival local ministers. The Witch, a pristine horror debut from writer/director Robert Eggers, is a chilling circa-1600 story of the devil taking over a devout, Scripture-quoting family. I Am Michael, executive produced by Gus Van Sant, tells the true story of Michael Glatze (played by James Franco), a former gay activist who denounced homosexuality and became a Christian pastor. Other films like Z for Zachariah and Me, Earl, and the Dying Girl subtly draw on questions and motifs that animate Biblical narratives and questions.
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  • Bacon, Simon (2019). Dracula as Absolute Other: The Troubling and Distracting Specter of Stoker's Vampire on Screen. McFarland. ISBN 9781476675381.
  • Fry, Carol L. (2019). Primal Roots of Horror Cinema: Evolutionary Psychology and Narratives of Fear. McFarland. ISBN 9781476635316.
  • Hart, Adam Charles (2019). Monstrous Forms: Moving Image Horror Across Media. Oxford University Press. ISBN 9780190916268.
  • Parker, Elizabeth (2020). The Forest and the EcoGothic: The Deep Dark Woods in the Popular Imagination. Springer Nature. ISBN 9783030351540.
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