Mister Magic is a jazz fusion album by Grover Washington Jr. released in 1975. Washington Jr. was an American jazz-funk saxophonist and songwriter who was known for his smooth and soulful playing style. He gained fame in the 1970s and 1980s and achieved crossover success with his fusion of jazz, R&B, and funk. Mister Magic is considered one of Washington Jr.

Cast of the witch 2015

Anya Taylor-Joy Thomasin

Ralph Ineson William

Kate Dickie Katherine

Harvey Scrimshaw Caleb

Ellie Grainger Mercy

Lucas Dawson Jonas

Bathsheba Garnett The Witch

Sarah Stephens The Witch, young

Julian Richings Governor

Daniel Malik Black Phillip (voice)

Axtun Henry Dube Samuel

Athan Conrad Dube Samuel

Vivien Moore Lead Coven Witch

Karen Kaeja Coven Witch

Brandy Leary Coven Witch

R. Hope Terry Coven Witch

Carrie Eklund Coven Witch

Madlen Sopadzhiyan Coven Witch

Paul Kenworthy Militia Man 1

Mark Millmna Militia Man 2

Andy Volpe Militia Man 3

Phillip Wynne Wampanoag Man

Annawon Weeden Wampanoag Man

Michael O'Hare Pipe Smoker

Chris Messier Shepherd

Ron Young Old Slater

Nora Messier Shepherdess

Bill Rudder Settler

Grace Duffy Settler

Sophie Bermudez Settler

Corrine Manning Settler

Heather Fisher Chamber Pot Woman

Jeff Smith Nobelman

Crew 126

Art

Andrea Kristof Art Direction

Scott Thom Construction Coordinator

Alain Rochefort Location Scout

Evan Gregg Location Scout

Ehrling White Painter

Hector Vargas Painter

Marcelo Torres Painter

Craig Lathrop Production Design

Kate Grant Property Master

Mary Kirkland Set Decoration

Andrew Redekop Set Designer

Camera

Jarin Blaschke Director of Photography

Greg Murray Dolly Grip

Kyle Borgogelli Grip

Mark Chapman Grip

Michael Swaigen Grip

Tyler Emms Key Grip

Brian Gedge Steadicam Operator

Dave Isern Steadicam Operator

Rafy Still Photographer

Costume & Make-Up

Ashley Nay Assistant Hairstylist

Linda Muir Costume Design

Lydia Pensa Key Hairdresser

Traci Loader Key Makeup Artist, Makeup Department Head

Daniel McGraw Makeup Artist

François Dagenais Prosthetics

Regan Noble Wig Designer

Crew

Jim Lovisek Animal Wrangler

Nathaniel Larouche CG Supervisor

Glenn Short Carpenter

Marc Bouchard Carpenter

Michael Waram Carpenter

Diane Cox Catering

Debbie Shank Chef

Denise Fujiwara Choreographer

Andy Boyd Driver

Brandon Wei Driver

Carolyn Higo Driver

Darren Carruthers Driver

Frank Riso Driver

Jason Julian Driver

Sean Julian Driver

Philip Stilman Post Production Supervisor

April Forward Set Medic

Max MacDonald Special Effects Coordinator

Katherine Eckler Stand In

Luca Hanes Stand In

Saint Michael Stand In

Traci Loader Stand In

Eric Bryson Stunt Coordinator

Robert Racki Stunt Coordinator

Stephannie Hawkins Stunt Double

Steve Gagne Stunt Double

Vivien Moore Stunt Double

Carrie Eklund Stunts

Jim Snell Transportation Captain

Scott Clarke Transportation Coordinator

Directing

Jennifer Haufler Assistant Director

Robert Eggers Director

Beau Ferris First Assistant Director

Lori Roussell Script Supervisor

Jeff Brownell Second Assistant Director

Grant Boyle Third Assistant Director

Editing

Louise Ford Editor

Lighting

Chad S. Roberts Gaffer

Production

Sherry Dayton ADR Voice Casting

Rosalie Chilelli Assistant Production Manager, Co-Producer

Jason Knight Casting

John Buchan Casting

Kharmel Cochrane Casting

Ethan Lazar Co-Executive Producer

Lon Molnar Co-Executive Producer

Mark Gingras Co-Executive Producer

Joel Burch Co-Producer

Lauren Haber Co-Producer

Alex Sagalchik Executive Producer

Alexandra Johnes Executive Producer

Chris Columbus Executive Producer

Eleanor Columbus Executive Producer

Jonathan Bronfman Executive Producer

Julia Godzinskaya Executive Producer

Lourenço Sant'Anna Executive Producer

Lucas Ochoa Executive Producer

Michael Sackler Executive Producer

Sophie Mas Executive Producer

Thomas Benski Executive Producer

Jennifer Barbeau Extras Casting

Brian Campbell Line Producer, Unit Production Manager

Elmer Jones Location Manager

Morton Dorrell Location Manager

Douglas Brisebois Location Production Assistant

Daniel Bekerman Producer

Jay Van Hoy Producer

Jodi Redmond Producer

Lars Knudsen Producer

Rodrigo Teixeira Producer

Jackie Bowness Production Accountant

Sandra Lumlock Production Accountant

April Forward Production Assistant

Dan Kenkel Production Assistant

Evan Watson Production Assistant

Francine Fayette Production Assistant

Jenny Smith Production Assistant

Jody Gambino Production Assistant

Madeleine F. Feldman Production Assistant

Phil C Cheney Production Assistant

Sam Eggers Production Assistant

Sylvie LeClair Production Assistant

Keitha M. Redmond Production Coordinator

Sound

Wayne Griffin Dialogue Editor

Marilee Yorston Foley

Mark Korven Original Music Composer

Adam Stein Sound Designer

Christopher Guglick Sound Re-Recording Mixer

Jason Perreira Sound Re-Recording Mixer

Orest Sushko Sound Re-Recording Mixer

Visual Effects

Adam Hulbert 3D Artist

Anthony De Chellis 3D Artist

Damian Isherwood 3D Artist

Daniel Bros 3D Artist

Luc Benning Special Effects Supervisor

Emily Switzer Visual Effects Coordinator

Jacquelyn Racine Visual Effects Coordinator

Sarah Wormsbecher Visual Effects Producer

Geoff D.E. Scott Visual Effects Supervisor

Writing

Robert Eggers Writer

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The Witch

In 1630s New England, William and Katherine lead a devout Christian life with five children, homesteading on the edge of an impassable wilderness, exiled from their settlement when William defies the local church. When their newborn son vanishes and crops mysteriously fail, the family turns on one another.

Cast

Director Director

Additional Directing Add. Directing

Producers Producers

Executive Producers Exec. Producers

Writer Writer

Casting Casting

Editor Editor

Cinematography Cinematography

Additional Photography Add. Photography

Production Design Production Design

Art Direction Art Direction

Set Decoration Set Decoration

Special Effects Special Effects

Visual Effects Visual Effects

Stunts Stunts

Choreography Choreography

Composer Composer

Sound Sound

Costume Design Costume Design

Makeup Makeup

Hairstyling Hairstyling

Studios

Countries

Language

Alternative Titles

The VVitch: A New-England Folktale, The VVitch, La bruja: Una leyenda de Nueva Inglaterra, The Witch: A New England Folk Tale, Veštica: Narodna Priča Nove Engleske, Čarodejnica - Novoanglická legenda, Čarodějky: Pověst z Nové Anglie, 女巫, Ведьма. Сказка Новой-Англии, Ведьма: Сказка Новой-Англии, Ведьма [Eggers], A Bruxa: A Lenda de New-England, อาถรรพ์แม่มดโบราณ, La sorcière: Une légende de la Nouvelle-Angleterre, Čarodějnice, Ведьма, La bruja, A Bruxa, เดอะ วิทช์, המכשפה, Cadı, A boszorkány, Η Μάγισσα, Vještica, Čarodejnica, 더 위치, Czarownica: Bajka Ludowa z Nowej Anglii, La Bruja, Vrăjitoarea, La sorcière, Відьма, Вещицата, Вештица, 不巫之地, ウィッチ, Phù Thủy, Ragana

Genres

Themes

Releases by Date

Premiere

23 Jan 2015

• USA R Sundance Film Festival

07 Jul 2015

• Czechia Karlovy Vary International Film Festival

06 Aug 2015

• Australia Melbourne International Film Festival

18 Sep 2015

• Canada Toronto International Film Festival

12 Oct 2015

• UK London Film Festival

Theatrical limited

17 Mar 2016

• Australia MA15+

Theatrical

27 Jan 2015

• South Korea 15

11 Nov 2015

19 Feb 2016

• USA R
• Canada 14A

26 Feb 2016

• Thailand

03 Mar 2016

• Brazil 16

04 Mar 2016

11 Mar 2016

• UK 15
• Ireland 15A

17 Mar 2016

• Argentina
• Chile

18 Mar 2016

24 Mar 2016

• Slovakia 15

13 May 2016

• Spain 16

19 May 2016

• Germany 16

15 Jun 2016

• France 12

21 Jun 2016

• Finland K-16

12 Jul 2016

• Netherlands 12

18 Aug 2016

22 Jul 2017

Digital

08 Sep 2016

01 Feb 2022

• France 16

Physical

17 May 2016

• Canada 14A

14 Jul 2016

• Australia MA15+

18 Jul 2016

20 Jul 2016

• Netherlands 12

18 Oct 2016

• France 12

20 Sep 2022

• Canada 14A

Releases by Country

Argentina

17 Mar 2016

• Theatrical

Australia

06 Aug 2015

• Premiere Melbourne International Film Festival

17 Mar 2016

• Theatrical limited MA15+

14 Jul 2016

• Physical MA15+

Brazil

03 Mar 2016

• Theatrical 16

Canada

18 Sep 2015

• Premiere Toronto International Film Festival

19 Feb 2016

• Theatrical 14A

17 May 2016

• Physical 14A DVD & Blu-ray

20 Sep 2022

• Physical 14A Blu-ray 4K

Chile

17 Mar 2016

• Theatrical

Czechia

07 Jul 2015

• Premiere Karlovy Vary International Film Festival

Estonia

18 Mar 2016

• Theatrical

Finland

21 Jun 2016

• Theatrical K-16

France

15 Jun 2016

• Theatrical 12 Visa CNC 144607

08 Sep 2016

• Digital VOD

18 Oct 2016

• Physical 12 DVD & Blu-Ray

01 Feb 2022

• Digital 16 Prime Video

Germany

19 May 2016

• Theatrical 16

Ireland

11 Mar 2016

• Theatrical 15A

Italy

18 Aug 2016

• Theatrical

Japan

22 Jul 2017

• Theatrical

Mexico

04 Mar 2016

• Theatrical

Netherlands

12 Jul 2016

• Theatrical 12

20 Jul 2016

• Physical 12 DVD, Blu ray

Slovakia

24 Mar 2016

• Theatrical 15

South Korea

27 Jan 2015

• Theatrical 15

Spain

13 May 2016

• Theatrical 16

Taiwan

11 Nov 2015

• Theatrical

Thailand

26 Feb 2016

• Theatrical

UK

12 Oct 2015

• Premiere London Film Festival

11 Mar 2016

• Theatrical 15

18 Jul 2016

• Physical 15 DVD & Blu-ray

USA

23 Jan 2015

• Premiere R Sundance Film Festival

19 Feb 2016

• Theatrical R

Mister Magic is considered one of Washington Jr.'s most successful albums and is a classic in the genre. The album features a blend of jazz, funk, and R&B elements, showcasing Washington Jr.

Popular reviews

film lovin’ me: this is a brilliant portrait of paranoia and religious fervor in the 1600s. it’s so inpressive how eggers manages to capture the spirit of the time without feeling like he’s painstakingly trying to pull an unnatural sense of tension or a period-accurate performance out of his actors the real me: motherfuckers need to TALK NORMAL. stop sayin THOUST.

hey guys it’s thy boy black phillip here welcome to my youtube channel where i make asmr videos for you every sunday . be sure to click that subscribe button if thou wanna live deliciously .

The Witch

"The Witch," a period drama/horror film by first-time writer/director Robert Eggers, tellingly advertises itself as "a New England folktale" instead of a fairy tale. Fairy tales are, at heart, parables that prescribe moral values. "The Witch," a feminist narrative that focuses on an American colonial family as they undergo what seems to be an otherworldly curse, is more like a sermon. Sermons pose questions that use pointedly allegorical symbols to make us reconsider our lives, just as one character uses the Book of Job to understand her role in her family (more on Job shortly). But "The Witch" is not a morality play in a traditional sense. It's an ensemble drama about a faithless family on the verge of self-destruction. And it is about women, and the patriarchal stresses that lead to their disenfranchisement.

For a while, it is unclear which character is exactly the focus of "The Witch." It's probably not grieving mother Katherine (Kate Dickie), though Eggers gives ample consideration to her mourning of infant son Samuel, who has disappeared under unusual circumstances. And it's definitely not Katherine's mischievous young twins Jonas and Mercy (Lucas Dawson and Ellie Grainger, respectively), though Mercy does often speak for her and her brother's inability to understand how the world works after their family is banished to a foreboding forest by a nearby colony. The film's main protagonist might be William (Ralph Ineson), Katherine's troubled husband. Or it could be her eldest son Caleb (Harvey Scrimshaw), a young man desperate to defend his father from his mother's frustration.

But more often than not, "The Witch" concerns Thomasin (Anya Taylor-Joy), the eldest of Katherine and William's five children. Thomasin undergoes puberty under the mistrustful eyes of her family, but realistically, they're not too concerned with her when crops are failing, money is scarce, and Samuel is missing. Still, Thomasin absorbs the brunt of her family's anxieties: her younger siblings look to her for comfort, but she balks at the added pressure, especially after her mother makes her do more chores than the rest of her family members. There are other subplots in "The Witch," but all roads eventually lead to Thomasin. That's the dark beauty of Eggers's expansive story: it's not just about the marginalized presence of women in a male-dominated microcosm, but the harsh conditions that can, even under extremely isolated circumstances, lead women to resentment, and crippling self-doubt.

"The Witch" is, in that sense, an anti-parable. Eggers eventually leads Thomasin out of the woods, but he takes his time in clearing her path. The result sometimes feels like an imaginary Harold Pinter-scripted version of "The Crucible," since it follows desperate, lonely souls who do everything—set animal traps, milk goats, till the fields, do laundry—to avoid thinking about what's really troubling them. It takes a while for Thomasin's clan to even consider that their problems are caused by witch, or demonic enchantment. But it eventually happens. Before that, there are only signs and portents, particularly evil-looking animals: a tetchy goat, a twitchy hare, and some talkative crows. Eventually, Thomasin's family personify their fears of nature, a gnawing uncertainty that is predictably gendered as feminine. And suddenly, the family's day-to-day troubles—almost all of which stem from the fact that their land seems cursed—takes the form of a fairy tale witch.

Which brings us back to Job. In the Book of Job, God hurts Job in order to test his faith. The reader knows that God exists, and has a divine, or perhaps just Mysterious, reason for trying Job. But until Job's body is plagued by God, he doesn't question that there is a reason for his torment. The same is basically true of William and his family. Until events lead his family to start clawing at each other's throats, he goes about his business as best he can. As a result, when you watch "The Witch," you often don't seem to know what the film is about. But the film's title is a big clue: this is a fantasy about empowerment, albeit through unorthodox methods.

I've talked a lot about what "The Witch" is about without mentioning how well it's about it. That's partly because the film is so consistently engrossing that I surrendered to it early on. Eggers' hyper-mannered camerawork draws you in by evoking Johannes Vermeer's portraits and the landscape paintings of Andrew Wyeth (there's also an overt reference to one of Francisco Goya's more famous paintings, but I can't tell you which one for fear of ruining a surprise). The complex sound design and controlled editing also help establish a mood that is (paradoxically) both inviting and somber. "The Witch" draws you in so well that you won't realize its creators have been broadcasting exactly where they're taking you.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in The New York Times, Vanity Fair, The Village Voice, and elsewhere.

's incredible talent on the saxophone. The title track "Mister Magic" is a standout piece that became a radio hit and remains one of his most well-known songs. The album also includes other notable tracks such as "Black Frost," a hauntingly beautiful composition, and "Earth Tones," a funky and energetic piece. The lineup of musicians on the album includes some of the best session players of the time, such as Eric Gale on guitar, Bob James on electric piano, and Gary King on bass. Washington Jr.'s mastery of the saxophone and his ability to effortlessly fuse different genres is evident throughout the entire album. His smooth and lyrical playing style, combined with the infectious grooves of the rhythm section, creates a captivating and enjoyable listening experience. Mister Magic solidified Grover Washington Jr.'s status as one of the leading figures in jazz fusion and cemented his place in the hearts of both jazz purists and mainstream listeners. His ability to seamlessly blend jazz with elements of funk and R&B set the stage for many future smooth jazz artists. Even though Grover Washington Jr. passed away in 1999, his music continues to be celebrated and appreciated by jazz enthusiasts all over the world. Mister Magic, with its timeless and captivating sound, remains a testament to his talent and legacy in the world of jazz..

Reviews for "Grover Washington Jr.'s Unique Use of Rhythm and Groove in his Music"

1. Karen - 2 stars - I was really disappointed with "Mister Magic" by Grover Washington. I had high expectations for this album, but it just didn't meet them. The songs were repetitive and lacked depth. I felt like I was listening to background music at a shopping mall rather than a compelling piece of jazz. Overall, I found the album to be quite forgettable and not worthy of the hype it received.

2. John - 3 stars - "Mister Magic" by Grover Washington didn't really resonate with me. While I appreciate his talent as a saxophonist, I found the album to be too overly smooth and lacking in variety. The tracks all seemed to blend together, and I couldn't differentiate one from another. I was hoping for more dynamic and engaging compositions, but unfortunately, this album fell flat for me.

3. Emily - 2 stars - I have to admit, I was quite disappointed with "Mister Magic" by Grover Washington. I found the album to be unoriginal and lacking creativity. The melodies were uninspiring, and the overall sound felt generic. I was hoping for more unique arrangements and innovative musical ideas, but instead, I got cookie-cutter smooth jazz. It just didn't hold my interest, and I won't be revisiting this album anytime soon.

4. Michael - 1 star - "Mister Magic" by Grover Washington was a complete letdown for me. I found the album to be incredibly monotonous and lacking any real excitement. The saxophone playing felt repetitive and failed to capture my attention. The overall production quality was also disappointing, with a lackluster mix that made the whole album sound dull. I was hoping for more from an acclaimed jazz artist like Washington, but unfortunately, this album missed the mark for me.

5. Samantha - 2 stars - I was not impressed with "Mister Magic" by Grover Washington. The album lacked the depth and complexity that I look for in jazz music. The tracks seemed to follow a predictable formula, and there was little to no improvisation or experimentation. I found myself growing bored with the album rather quickly and felt like it was just background music rather than something I could actively engage with. Overall, it was a forgettable experience for me.

Grover Washington Jr.'s Impact on African-American Music: Celebrating Black Excellence in Jazz