“The Witches of Eastwick” (George Miller, 1987)
The terrific and terribly underrated adaptation of the controversial John Updike novel of the same name, “The Witches of Eastwick” finds a trio of disaffected suburban women (Pfieffer, Sarandon, and Cher), inadvertently discovering their witchy supernatural powers after a charismatic man (Jack Nicholson, naturally), who also happens to be the devil, shows up in their small New England town. As directed by George Miller of “Mad Max” fame, “The Witches of Eastwick” has a wonderfully demented, off-the-wall style, exemplified by a memorable game of tennis between the women and Nicholson that has some magical overtones. But the movie belongs to the trio of amazing actresses, who walk the fine tonal line required of their characters – they go from being bored, sad and lonely to being empowered, in both the supernatural and personal sense. What’s more – they realize that they are far more powerful together than they could ever be apart. Sisterhood! Also: is there a spell to make us forget about the awful 2009 ABC series based on the book/movie? – DT
“Drag Me To Hell” (Sam Raimi, 2009)
When it comes to recent horror movie enchantresses, few are quite as striking and unforgettable as Lorna Raver’s ravenous, delightfully and effectively chilling Mrs. Ganush in Sam Raimi’s invigorated return-to-form, the feverishly fantastic and wonderfully wicked “Drag Me To Hell.” Nearly unrecognizable behind her color contacted eyes, distorted teeth, ravaged hair and blood-churning laugh, the witch that puts our condemned protagonist, Christine Brown (Alison Lohman), to the tortured fate suggested by its striking title is both menacing and pulsating, given a wealth of life in her unholy acts of evil by the vigorously inspired performance given by her actress. It is a performance that needs to channel the unpredictable tone of the film, which can often switch from straight horror to outlandish physical comedy on the dime. And it is one that needs to make us feel both terror and transfixion at the deeds set to be done by our guileless protagonist, unaware of the unleashed dangers that will soon befall her. But Raver captures the fluctuating tone of the film with ease, providing us with a performance that still stands as her most iconic and spellbinding to date. – Will Ashton
“The Love Witch” (Anna Biller, 2016)
Director Anna Biller’s delectable “The Love Witch” is bewitching in every sense of the word. Shot lusciously on 35mm film, with outstanding attention to art direction, costuming, and production design and accompanied with a wonderfully beguiling score and rapturous, softly-lit cinematography that never fails to reward the eye, the impressively-realized and truly pristine filmmaking most assuredly works its magic. But it is ultimately Samantha Robinson, as Elaine, a.k.a. our title Love Witch that casts us under the film’s beguiling spell. Charming in every imaginable sense, with confidence and conviction to spare, it’s truly a radiant, remarkable performance, invigorating us for its two-hour runtime. If our world were a truly just one, it would instantly turn our leading actress into a major Hollywood star. Alas, “The Love Witch” is perhaps best enjoyed not knowing what fortunes are faired. Be sure to be bewitched by its powers. – WA
“Suspiria” (Dario Argento, 1977)
Often considered the pinnacle of giallo horror, Dario Argento’s candy-colored masterpiece throws the audiences into an overwhelming assault on the senses. What with a propulsive score composed by prog-rock band Goblin, Argento’s camera casting bold primary colors like spells from the witch coven, and bursts of extreme violence, “Suspiria” is frightening in a truly immersive way. At the center of this terrifying vision is the coven of witches that haunt the film, specifically the decayed and horrific Helena Markos. Markos does not appear until late in the film’s climax, but the combination of her traumatic backstory as well as her shocking reveal gives her a more significant presence through the rest of the film. Burned by locals who believed she was a witch, Helena Markos is the source of the academy and coven’s power. Part of the film’s charm is in its camp; the dialogue is often stilted and stiffly delivered, and the less said about the ADR, the better. Regardless, Argento’s operatic vision of a witch coven fronted by a ballet academy casts a hypnotic spell that will haunt the viewer from the first sumptuous frame to the last. – Ted Silva
“I Married A Witch” (Rene Clair, 1942)
The great art nouveau poster for “I Married a Witch” proclaims “No man can resister her,” suggesting that Veronica Lake’s witchy powers draw men in, not her flawless face or impeccable physique. Right. (Yet she still gets second billing after Fredric March.) Lake plays a Salem witch who vows revenge against the men who burned her and her father at the stake. Generations pass before she’s finally released, and she sets her sights on March, who plays the descendant of her pursuer. Of course, this being a wacky comedy unofficially produced by Preston Sturges, she goes after his heart (not literally). They end up falling in love, and all sorts of calamity ensue (at one point she explains to March that love is a more powerful spell than anything in witchcraft). Lake makes you believe that someone could identify her as a witch since you fall under her spell repeatedly throughout the movie’s brief 77-minute running time. – DT
