From writer/director Caradog James and producer John Giwa-Amu, who gave us the inventive 2013 sci-fi The Machine, comes Don’t Knock Twice? starring Katee Sackhoff, Lucy Boynton and Nick Moran.
Sackhoff plays American sculptor Jess, a former addict who has turned her life around and is now settled in the UK with her banker husband (Moran). When she decides to reconnect with Chloe (Boynton), the daughter she was forced to give up nine years ago, she’s shocked to discover that Chloe has only agreed to come and live with her because she’s terrified of a supernatural curse. Chloe claims her boyfriend Danny (Jordan Bolger) was taken by a vengeful child-eating witch and is frightened she’s next on the urban legend’s menu. At first, Jess disbelieves her Chloe, but when she learns that other children have gone missing, Jess sets out to uncover the truth…
I really really enjoyed James and Giwa-Amu’s The Machine (you can read my review here), so I was so looking forward to being surprised once again by the Red and Black Film gang, but their Welsh-filmed horror follow-up – which puts a contemporary spin on Hansel and Gretel and the Baba Yaga legend, with a dash of bit of estranged mother-daughter reconnecting – fails to deliver.
Yes, it’s got a couple of scary moments, as well as solid performances from all involved, but I was left feeling I had seen it all somewhere before. Now, the long-fingered witch make-up is terrific, but its physical movements were too much like The Ring‘s Sadako Yamamura or The Exorcist‘s Linda Blair in full possession mode to really stand out. It’s also very dark – not so much in tone, but in the excessive use of low lighting effects – which had me wondering if the film-makers had run out of budget as well as steam.
Don’t Knock Twice? is out on VOD and DVD from Signature Entertainment
The Love Witch (2016) | Prepare to be seduced, bewitched and beguiled – just watch out for the jimsonweed!
A deliciously visual confection that pays loving homage to vintage Hollywood glamour, melodrama and Technicolor, Anna Biller’s The Love Witch is a beguiling and bewitching feminist exploration of pathological love, desire and narcissism.
She Loved Men… To Death
Wiccan convert Elaine (Samantha Robinson) is determined to find a man to love her entirely. Fleeing San Francisco after the death of a lover, she takes up residence in a gothic Victorian apartment in a quaint town northern Californian, where she begins her search for the man of her dreams.
But her sex magic – which requires the use of the hallucinogenic jimsonweed – is so powerful it sends her suitors to an early grave, and when she does meet her perfect match in a detective (Gian Keys) who is investigating her, Elaine’s desperation to be loved sends her over the edge…
With its purposefully stylised look, drenched in a ultra vivid colour palette, Anna Biller’s The Love Witch certainly took my breathe away and reminded me of how excited I felt when I first laid eyes on the hyper-real styling’s of Rainer Werner Fassbinder’s Querelle, James Bidgood’s Pink Narcissus and Todd Haynes’ Poison and Velvet Goldmine.
Praise be Biller for taking over seven years to bring her feminist opus to cinematic life – and doing all the writing, direction and editing herself (as well as the sets, songs and paintings), while also working closely with cinematographer, M David Mullen (Jennifer’s Body and TV’s Extant), to achieve her desire to create a fun movie that uses her own cinema fantasies to ‘penetrate the visual world of an iconic witch’.
It’s certainly exciting for cinephiles like myself to catch all the references that Biller channels into the film: like the opening sequence that’s an intentional nod to Hitchcock’s The Birds – complete with retro rear-screen projection; Douglas Sirk’s soapy 1950s melodramas; and female-driven pictures like Mildred Pierce and Leave Her To Heaven.
And when it comes to the borrowed music, Biller cleverly chooses some evocative 1960s giallo scores by Ennio Morricone. Now I might be mistaken, but I think I also heard a mock-medieval melody from David Lee’s Masque of the Red Death score from Roger Corman’s 1964 Pathecolor horror classic – another film that made masterful use of a primary colour palette courtesy of Nicolas Roeg.
For me, the heavy use of reds, purples and blacks and the witches’ coven sequences reminded me of some other psychedelic American International Pictures-produced horrors like Count Yorga, Vampire and The Dunwich Horror. But Biller has gone on record to say that she was never influenced by what she calls these ‘exploitation movies’ as they were made purely for ‘male pleasure’.
Playing the deluded femme fatale, Samantha Robinson is totally bewitching as Elaine, who is part Stepford wife, part Samantha from Bewitched, but with the darker shades of Sandy Dennis in That Cold Day in the Park and a couple of Hitchcock heroines lurking behind inviting deep hazel eyes that stare directly at the camera in almost every shot. It’s a clever technique that effectively seduces the viewer into being drawn into Elaine’s deluded candy-coloured world.
Here’s how Biller viewed her intentions: ‘I wanted to make a movie about a witch, because I think that every woman is made to feel like a witch by the men who don’t understand her: that is, mysterious, dangerous, different, abnormal. Elaine is monstrous, wreaking havoc wherever she goes, but she is also sympathetic, because she has essentially been driven mad by being a woman, and is struggling to find love and acceptance in a world that has disappointed her at every turn.’
The gender politics of Biller’s The Love Witch is certainly ripe for closer examination and comment, and I look forward to revisiting the film when it gets its UK Blu-ray release on 13 March from ICON Entertainment. In the meantime, do yourself a favour and catch this on the big screen – you NEED to see it in all its 35mm glory.
Oh and for those of you who are film location fanatics (like me), Elaine’s Munsters-like Victorian mansion can be found at 916 13th St, Arcata, CA 95521.
The Love Witch is out in selected UK cinemas now.