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. its dread-dripped atmosphere, and its spiralling sense of desperation turning into inevitability, unsettles and oppresses like few genre films of recent times
But Eggers film goes one step further its uncanny is its full-throated embracing of the puritanical 17 th century setting and the Jacobean language the film s cast expertly utilise. Somewhat ironically in this context, it s the kind of film that any form of criticism, be it good or bad, does no justice to whatsoever I remember on release hearing this was the most terrifying film since The Blair Witch Project and coming away somewhat disappointed it should just be there, waiting for you to discover or re-discover it waiting patiently in the woods for you to stumble over it, intrigued by its premise and open to letting it wrap itself around your guts as you find yourself transported into this strange, preternatural and deeply arresting world.
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The Witch 4K Blu-ray Review
The best folk horror always worked because of its sense of the normalisation of the ‘uncanny’ – how something just a little bit. ’off’ from our everyday reality can be accepted as the norm to utterly unfathomable consequences. Be it the Festival of the Sun on Summerisle, the seemingly happenstance and everyday denouncement of ordinary women by everyone in Witchfinder General and the sinister warpings of Christianity by the children in Blood on Satan’s Claw.
But Eggers’ film goes one step further – its ‘uncanny’ is its full-throated embracing of the puritanical 17 th century setting and the Jacobean language the film’s cast expertly utilise. It brilliantly allows a narrative that explores so many modern tropes and themes found in a myriad of supernatural films of every genre – the effects of passing from childhood into adulthood, of religious fervour and zealotry, of the ever-growing psychosis and paranoia stemming from an increasing sense of isolation, etc – one that should feel familiar in and of itself, to feel somehow warped, to take that sense of the familiar and make it feel in and of itself ‘uncanny’ based on nothing other than its settings, its language and it’s very DNA… and that’s before any element of the plot is manifested to the viewer.
Movies & TV Shows ReviewThe Witch Movie Review
by Sharuna Warner · Mar 11, 2016The Witch tells the story of a Puritan family in 17th century New England who are banished to the woods and find themselves besieged by the dark forces of nature.
It's a masterstroke from a director who was only 32 at the time of its release, a director and writer steeped in New England folklore thanks to his own childhood growing up around these parts with the history of the place seeping into folktales and of his own parents' literary background (his father is a Shakespearean professor). The richness and detail in everything from the opening scene of a family being cast out of the safety of its settlement and into the wild New England forests through to the many strange and unsettling events that are symbolic of an ancient force living on the outskirts of their new home – of rabbits that stare, of crops that inexplicably fail, of a goat that seems to have a darkness hiding behind its eyes and of a baby that suddenly and literally disappears – gives an authority to the piece that utterly engulfs the viewer, taking hold and not letting go until its final, sanity-bothering moments.
. its dread-dripped atmosphere, and its spiralling sense of desperation turning into inevitability, unsettles and oppresses like few genre films of recent times
As with most folk horror, it’s not often it can be called ‘terrifying’ or even ‘scary’. But its dread-dripped atmosphere, and its spiralling sense of desperation turning into inevitability, unsettles and oppresses like few genre films of recent times. Unafraid to embrace its supernatural sensibilities – there’s little doubt as to what is actually going on - Eggars stays the course and has complete faith in his cast to provide the hook into the ambience and mood of the film, instead of any plot complexities or contrivances.
And the small cast are utterly mesmerising – from the reliable Kate Dickie as the fracturing and fraying matriarch to Ralph Ineson’s scared and bewildered patriarch to, of course, the introduction of Anya Taylor-Joy, truly a force to be reckoned with from the very first frame she shot in front of a camera thanks to an unnerving ability to almost physically manifest herself to match any work she’s doing, they all give staggering performances to match the exacting requirements of Eggers’ script.
Together with its woozy, drained-of-life but in-your-face visuals and its screechily ambient soundtrack, it’s a beguiling and heady concoction, one that gets better with age and viewings.
Somewhat ironically in this context, it’s the kind of film that any form of criticism, be it good or bad, does no justice to whatsoever – I remember on release hearing this was the most terrifying film since The Blair Witch Project and coming away somewhat disappointed – it should just be there, waiting for you to discover or re-discover it… waiting patiently in the woods for you to stumble over it, intrigued by its premise and open to letting it wrap itself around your guts as you find yourself transported into this strange, preternatural and deeply arresting world…
But Eggers’ film goes one step further – its ‘uncanny’ is its full-throated embracing of the puritanical 17 th century setting and the Jacobean language the film’s cast expertly utilise. It brilliantly allows a narrative that explores so many modern tropes and themes found in a myriad of supernatural films of every genre – the effects of passing from childhood into adulthood, of religious fervour and zealotry, of the ever-growing psychosis and paranoia stemming from an increasing sense of isolation, etc – one that should feel familiar in and of itself, to feel somehow warped, to take that sense of the familiar and make it feel in and of itself ‘uncanny’ based on nothing other than its settings, its language and it’s very DNA… and that’s before any element of the plot is manifested to the viewer.
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Reviews for "The Magic of Witchcraft Ultra Studio 4K Mini"
1. John - 2/5 - I was really disappointed with the Witchcraft ultra studio 4k mini. The picture quality was decent, but the device itself was extremely unreliable. It would often freeze or crash while I was in the middle of editing, causing me to lose my work. Additionally, I found the interface to be confusing and not user-friendly at all. I had a lot of trouble navigating through the settings and adjusting the video parameters. Overall, I don't recommend this product as it didn't live up to its promises and was just frustrating to use.
2. Sarah - 1/5 - What a waste of money! The Witchcraft ultra studio 4k mini had so much potential, but it failed to deliver. The video playback was choppy and laggy, making it impossible to get any work done smoothly. I contacted customer support multiple times, but they were unhelpful and didn't offer any solutions. The device also constantly overheated, which resulted in frequent crashes. I expected a lot more from a supposedly high-end product, but unfortunately, all it brought me was frustration and disappointment.
3. Alex - 2/5 - I regret purchasing the Witchcraft ultra studio 4k mini. The main issue I experienced was with the audio. It would often go out of sync with the video, which made my editing process frustrating and time-consuming. The software that came with the device was also very glitchy and crashed frequently. I ended up returning it and investing in a different brand that provided much better performance and reliability. Save yourself the headache and look for alternatives instead.