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Although newcomers might not regard Christopher Lambert’s ‘Scottish’ accent, Connery’s ‘Spanish’ tongue or the Queen soundtrack with quite the same fondness as those who grew up with Highlander.
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Some dodgy climactic effects aside, the movie stands up surprisingly well, given the none-more-’80s feel. As The Kurgan would undoubtedly say, “Hello, pretty.” If there really can be only one, then this 30th Anniversary Edition is it (for now), the glorious 4K restoration detailing each strand of silvery hair in Sean Connery’s rat-tail, while extras include an all-new Making Of, deleted scenes, and commentary by Aussie helmer Russell Mulcahy.
Time to toss your vanilla DVD and your Immortal Edition Blu. Kevin Harley Prev of 9 Next Prev of 9 Next A good-looking Blu-ray, but who magicked away all the extras from the US edition?ĭirector: Robert Eggers Starring: Anya Taylor-Joy, Ralph Ineson, Kate Dickie, Julian Richings DVD, BD, Digital HD release: July 18, 2016
As for Eggers, his career lift-off provokes near-sacrilegious thoughts: his proposed remake of Nosferatu might actually be something. Yet the show-stealer is Taylor-Joy, a newcomer bound for stardom by the time of the finale’s divisive – but rhythmically magnetic – crescendo. As father William, Ralph Ineson’s accent makes goading work of the script’s Yoda-isms (“What went we…?”), almost daring you to make joshing reference to his role as The Office’s Finchy Kate Dickie, meanwhile, banks a near-best in her collection of grieving mothers who are at ravaged one with their cruel surroundings (see Red Road, Couple In a Hole).
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Happily, Eggers is blessed with the crack cast needed to sell such charged material. As Thomasin frets over playing on Sunday and her brother Caleb (Harvey Scrimshaw) trembles with his sinful urges, Eggers suggests patriarchal, puritanical oppression can attract demons. Eggers isn’t afraid to show witchery at work, but he sustains the possibility that everything is cooking in this family’s God-fearing fever dreams. Neither purely tangible nor merely metaphorical, The Witch stokes tension between the two extremes. As Anya Taylor-Joy’s perfectly pitched teenage Thomasin entertains her baby brother with a game of peekaboo, the awful pay-off makes boo-scares look like child’s play.Īs we see the baby whisked away by a hooded hag, Eggers pulls off a double whammy. If the jump scare is often horror’s release valve for pent-up tension, Eggers slyly pulps even that indulgence. But Eggers ensures no one laughs, not even at the talking goat or the suspiciously twitchy bunny. 9 did in a recent episode parodying witchy terrors and demon animals.
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There’s a temptation to chuckle at such high seriousness: the Beeb’s spooky-comic series Inside No. Stick “Thou shalt be home by candletime tomorrow” on your Twitter feed. Where the likes of Unfriended log on to cyberfears and mount found-footage riffs, Eggers favours high-art compositions, avant-scoring (Mark Korven) and a script hewn from historical vernacular. Just as its puritanical family are exiled from society to a seemingly witch-infested forest’s edge, so Eggers ventures out on a limb. While It Follows applied a Lynch-level intensity to the slasher genre’s preoccupation with teen sex, Robert Eggers’ slow-dread debut lifts the pointy hats of fairytale, Disney and history to find themes powerful enough to bridge past/present anxieties: fear, family, guilt and fundamentalism.Ĭompared to lighter modern horrors, Eggers’ 17th-century folk tale looks startlingly original.
In the best recent horrors, primal fear is a serious business.