These days teenagers expect blood and guts mixed with the overzealous PG13 jump scare that accompanies them. So when they actually see a horror film of value (meaning worth their time), they either pay no attention to the details, or just completely write them off. Movies like: The Babadook, It Follows, Goodnight Mommy and now The Witch – all have more production value in their fingertips than the last four Paranormal Activities or other found footage trash combined.

The Witch, which is being distributed under indie label A24 films, is getting some mainstream attention. This is the first film the studio has implemented a wide release strategy in lieu of attracting that teenage audience. Only thing is I don’t forsee any of them seeing this movie, and even if they did, chances are they probably wouldn’t like it. Being sold as “Based on The England Folklore” demo..and the credits highlight such accuracies.

“This film has been told from actual accounts, from diaries, eye witnesses of the such” which is told to us as we leave the theater. The film went on to win the grand jury prize for best director at the Sundance Film Festival. Interesting enough this is Robert Eggers’ first swaray to feature film, which is a slight breeze as he looks to be in complete control for the audience. He did his best not to reveal too many plot holes as we move along; he also wrote the film’s screenplay.

Taking place some years ago circa 1630s where English was still being developed, we see the harsh circumstances of a family who gets exiled from their plantation due to religious differences. What follows is the struggle for normalcy, food, and sanity. Crops aren’t growing they way they should be, babies are disappearing into the dark forest and black magic seems to be a force that shouldn’t be played with.

The Witch had first jumped on my radar back in October when I had seen a trailer in front of another brilliant horror film, Goodnight Mommy. Unfortunately, while The Witch has some strong visceral qualities relating to landscape, tone, and length, it is by no means a masterpiece. You see, Goodnight Mommy was a film that took us along for the ride with no time to catch our breaths. While the symbolism alone in The Witch is enough for me to warrant a viewing, there isn’t much going on as far as genre horror is concerned. The last 25 minutes start to pick up the pace from lost momentum, but it’s the eventual payoff that is just eerie enough that you can turn your head and be amassed by the senses. The last shot of the film is a marvel.

Then there is the creepy-esque violin-like string quartet, which heightens at just the right moments to elevate the film. And the performances from the cast of basic no-names are vastly compelling, specifically newcomers Anya Taylor-Joy and Harvey Scrimshaw, who play the younger siblings. I don’t expect many of my fellow peers to indulge in this type of artistic brand of entertainment, yet if you can let some of the imagery seep into your mind, The Witch might actually do something: provoke you.  B