🎙️🎬Full Movie Recap

Welcome, dear listeners, to another spellbinding episode of Movies Philosophy! I’m your host, and today we’re diving into the whimsical yet wickedly dark world of The Witches (2020), directed by Robert Zemeckis. This modern adaptation of Roald Dahl’s classic tale weaves a story of magic, mischief, and the unbreakable bond between family. So, grab your broomstick—or maybe just a cozy blanket—and let’s unravel this enchanting narrative of hidden dangers, brave children, and a grandmother’s fierce love. As the great Dumbledore once said in Harry Potter and the Sorcerer’s Stone, “It takes a great deal of bravery to stand up to our enemies, but just as much to stand up to our friends.” Today, we’ll see that bravery in spades.

Our story begins in 1968, in the quaint town of Demopolis, Alabama, where young Charlie Hansen, played by Jahzir Bruno, is grappling with the tragic loss of his parents in a car accident. Sent to live with his loving yet strict grandmother, Agatha, portrayed with heartwarming depth by Octavia Spencer, Charlie finds himself in a world of rules and routines meant to keep him safe. But beneath Agatha’s stern exterior lies a tender heart, one that aches for her grandson’s loneliness. To lift his spirits, she gifts him a pet mouse named Daisy, a small creature that becomes his confidant and companion. Unknown to Charlie, however, a sinister presence lurks in their neighborhood—a witch with a bone-deep hatred for children, watching his every move.

Agatha isn’t just a grandmother; she’s a healer, a keeper of herbal secrets and potions that can cure almost any ailment. Her past, though, is shadowed by a haunting memory. As she reveals to Charlie after a chilling encounter at a store—where a witch tries to lure him with a snake and a caramel—she once lost a childhood friend, Alice, to a witch’s curse. Alice was transformed into a chicken after accepting candy from a stranger, a tale so bizarre that no one believed Agatha, leaving her with lingering trauma and coughing fits triggered by a witch’s presence. “Some scars don’t heal, kiddo,” Agatha seems to whisper, echoing a sentiment akin to Alfred’s line in The Dark Knight: “Some men just want to watch the world burn.” In this case, some witches just want to watch children suffer.

Realizing the witch won’t stop hunting Charlie, Agatha decides they must flee to the Grand Imperial Island Hotel, a luxurious sanctuary in Alabama where her cousin Eston works as the executive chef. Managed by the eccentric Mr. R.J. Stringer III, played by Stanley Tucci, the hotel seems like a safe haven—Agatha believes witches prey only on the poor and overlooked. But danger follows them. At the hotel, Agatha teaches Charlie the telltale signs of a witch: elongated mouths, clawed hands hidden by gloves, bald heads under itchy wigs, square feet with no toes, and a purple tinge in their eyes. Their sense of smell, she warns, is uncanny, used to sniff out children like bloodhounds.

As fate would have it, a group of women arrives at the hotel under the guise of a society for the prevention of cruelty to children. But Charlie, while training Daisy in the grand hall, stumbles upon a horrifying truth. Hiding under the stage, he overhears the Grand High Witch, a chillingly charismatic Anne Hathaway, and her coven plotting to eradicate children worldwide. Their plan? A potion, disguised in confectionery, that turns children into mice within an hour. The Grand High Witch, a legend said to be hatched from the frozen Tundra of Norway, orders her minions to open candy stores across the country, funded by a trunk of money stashed in her room. As her voice echoes with malice, it’s as if she’s saying, “I’ll get you, my pretty, and your little dog too!” from The Wizard of Oz, her hatred for children palpable.

The tension escalates when Charlie meets Bruno, a gluttonous but friendly boy played by Codie-Lei Eastick, who unwittingly becomes a test subject for the potion after eating a laced chocolate bar. Charlie, too, falls victim, forcibly transformed into a mouse by the Grand High Witch after she smells him out. Escaping with Bruno and Daisy—who, shockingly, is revealed to be a girl named Mary cursed into mouse form—they rush to Agatha with the horrifying news. Determined to fight back, they devise a plan to steal the potion, hoping Agatha can concoct a cure. But when that fails, they turn the witches’ weapon against them, spiking a broth of pea soup with the potion during the coven’s dinner.

The climax is a chaotic masterpiece. As the witches—except the Grand High Witch, who senses something amiss—drink the soup, they transform into rats, squealing in panic. The Grand High Witch, recognizing Agatha as the girl who witnessed Alice’s curse, attacks with lethal intent. But the mice intervene, tricking her into swallowing her own potion. Transformed into a rat, she’s trapped in an ice bucket, her reign of terror ended by her own cat, Hades, in a brutal twist of irony. As the dust settles, Agatha secures the Grand High Witch’s trunk of money and her diary, listing every witch worldwide. With a steely resolve, she might as well declare, inspired by Gladiator, “What we do in life echoes in eternity,” vowing to hunt down every last witch.

In the aftermath, Charlie, Bruno, and Mary—still mice—form a new family with Agatha. Unable to return to their human forms or their old lives, they embrace their unconventional bond. Using the Grand High Witch’s fortune, they travel the world, teaching children to spot and defeat witches. Charlie, revealed as the narrator, reflects on this journey with a bittersweet wisdom. “Family isn’t just blood; it’s the ones who fight for you,” he muses, a line that could’ve been pulled from a heartfelt Hollywood script like The Shawshank Redemption’s “Hope is a good thing, maybe the best of things.”

The Witches is more than a fantasy; it’s a tale of resilience and love triumphing over darkness. It explores themes of loss, the hidden evils in plain sight, and the courage to protect the innocent. The emotional depth lies in Charlie and Agatha’s relationship—a bond forged in grief yet strengthened by unwavering trust. As we close this episode, let’s remember a final inspired quote echoing Forrest Gump: “Life is like a box of chocolates; you never know what you’re gonna get.” For Charlie, it was a world of witches, but also a family worth fighting for. Until next time, keep watching, keep wondering, and stay safe from the witches among us. This is Movies Philosophy*, signing off.

🎥🔥Best Dialogues and Quotes

“Witches are real, and they are everywhere.”

This quote sets the tone for the movie, emphasizing that witches are not just fairy tale creatures but exist in the real world. It creates an immediate sense of intrigue and suspense, drawing the audience into the story.

“A witch never gets caught. Don’t forget that, ever.”

This line highlights the cunning and elusive nature of witches, suggesting that they are skilled at hiding their true identities. It reinforces the danger they pose and the challenge the protagonists face.

“They hate children. They hate all children.”

This quote reveals the primary motivation of the witches, which is their intense dislike for children. It establishes the threat they pose and the urgency for the characters to protect themselves.

“That’s the most important thing about witches: they’re always wearing gloves.”

This observation provides a crucial clue to identifying witches, adding an element of mystery and a tangible detail that characters and viewers alike can look for as the story unfolds.

“A witch is easily the most dangerous of all the living creatures on earth.”

This hyperbolic statement underscores the extreme threat that witches represent, elevating their status to that of a formidable and deadly foe, which heightens the tension in the narrative.

“They don’t have toes. Instead, their feet have square ends.”

This peculiar detail about witches serves as both a whimsical and eerie characteristic, adding to the uniqueness of witches in this story and offering another clue for identifying them.

“The most important thing you should know about real witches is this. Listen very carefully.”

This introductory line sets the stage for crucial information, building anticipation and emphasizing the gravity of the knowledge about to be shared with the audience.

“They’re not women at all. They’re demons in human shape.”

This declaration radically alters the perception of witches, framing them as malevolent supernatural beings rather than misunderstood humans, intensifying the narrative’s conflict.

“Their aim is to rid the world of children, one child at a time.”

This line clearly states the witches’ sinister goal, providing a direct threat that propels the plot forward and ensures the stakes remain high throughout the movie.

“A real witch spends all her time plotting to get rid of the children in her particular territory.”

This quote reveals the relentless nature of witches, indicating their single-minded focus on their mission. It adds to the tension as the characters must constantly be on guard.

🎭🍿 Hidden Easter Eggs & Trivia

The 1990 film adaptation of Roald Dahl’s “The Witches,” directed by Nicolas Roeg, carries with it a treasure trove of behind-the-scenes secrets that enrich its allure. One particularly fascinating tidbit involves the visionary Jim Henson, whose company was responsible for the film’s prosthetic make-up and puppetry. Henson, known for creating the Muppets, was particularly invested in the project, envisioning the witches and their mice victims in a manner that would be both terrifying and captivating. The Grand High Witch’s transformation scene, a pinnacle of practical effects, employed an extensive array of prosthetics and puppetry, pushing the boundaries of what was possible at the time. Anjelica Huston, who played the Grand High Witch, spent hours in the make-up chair, enduring an arduous process that ultimately contributed to her standout performance.

As with many films of its era, “The Witches” is peppered with intriguing trivia that fans may find captivating. For instance, the film was shot primarily at the Headland Hotel in Newquay, Cornwall, which became a character in its own right. The location was carefully chosen to evoke a sense of the eerie and fantastical. Additionally, in a nod to Dahl’s original work, the filmmakers ensured that the author himself was involved, albeit indirectly; though he was reportedly dissatisfied with the film’s ending, which deviated from his book, his influence pervaded many aspects of the production. The film’s inclusion of magical realism and dark humor reflects Dahl’s distinctive style, bringing his vision to life in a vivid, cinematic form.

Sharp-eyed viewers may notice several Easter eggs woven throughout the film, adding layers of depth for those familiar with Dahl’s literary universe. For example, the character of Bruno Jenkins, transformed into a mouse, is seen nibbling on a cheese wedge with the initials B.J. etched into it — a playful nod to his human identity. Another subtle detail involves the mice’s vocalizations, which, upon closer listening, echo phrases from the story, bridging the gap between whimsy and reality. These hidden gems reward attentive audiences, offering a richer viewing experience that encourages repeated screenings.

On a psychological level, “The Witches” presents themes that delve into childhood fears and the concept of evil lurking beneath the surface of everyday life. The film exploits the universal fear of transformation and loss of identity, as seen through the eyes of the young protagonist, Luke. His journey from boy to mouse is a metaphor for the transition from innocence to awareness, a theme that resonates with viewers of all ages. The depiction of witches as seemingly ordinary women adds a layer of psychological tension, playing on the notion of danger in disguise and the anxiety of not knowing who to trust.

Despite its mixed reception upon release, “The Witches” has left a lasting impact and legacy within the fantasy genre. The film’s unique blend of horror and humor, combined with its faithful adaptation of Dahl’s whimsical yet sinister narrative, has earned it a cult following. It stands as a testament to practical effects and storytelling, often cited as an influence in both literature and film adaptations that followed. The movie’s ability to balance the fantastical with the frightening, while maintaining a child-friendly atmosphere, has inspired subsequent works to explore similar narrative territories.

In summary, “The Witches” remains a fascinating study in the marriage of practical effects and storytelling, a hallmark of early 90s cinema. From its behind-the-scenes challenges to its enduring legacy, the film continues to captivate audiences with its blend of dark fantasy and playful imagination. As it ages, “The Witches” not only serves as a nostalgic trip for those who grew up with it but also as a rich source of inspiration and intrigue for new generations, ensuring its place in the annals of cinematic history.

🍿⭐ Reception & Reviews

The Witches (1990)

# Review

“The Witches” (1990), directed by Nicolas Roeg and adapted from Roald Dahl’s darkly whimsical 1983 novel, is a peculiar yet enchanting horror-fantasy film that blends childhood wonder with macabre undertones. Produced by Jim Henson, the movie brings a unique visual flair to Dahl’s story of a young boy, Luke (Jasen Fisher), and his grandmother, Helga (Mai Zetterling), who stumble upon a sinister coven of witches plotting to turn all children into mice. Set against the eerie backdrop of a British seaside hotel, the film captures the unsettling essence of Dahl’s imagination, even if it occasionally stumbles in tone and pacing.

The story is a delightful mix of humor and horror, centered on Luke’s battle against the Grand High Witch, played with delicious malevolence by Anjelica Huston. Huston’s performance is the film’s undeniable highlight; her transformation into the grotesque, unmasked witch is both horrifying and mesmerizing, thanks to the masterful practical effects by Jim Henson’s Creature Shop. Her commanding presence and wicked charisma elevate every scene she’s in, making the witches’ nefarious plan feel genuinely threatening. Jasen Fisher, as Luke, delivers a surprisingly grounded performance for a child actor, balancing vulnerability with pluck, while Mai Zetterling’s warm, determined portrayal of Helga adds emotional depth to their bond.

Nicolas Roeg’s direction is visually inventive, with a distinctively eerie atmosphere that captures the story’s blend of fantasy and dread. His use of close-ups and unsettling angles amplifies the witches’ creepiness, particularly in the transformation sequences, which remain iconic for their grotesque detail. However, Roeg’s pacing falters at times, with some scenes feeling rushed while others drag, disrupting the narrative flow. Additionally, the film’s tone wavers between lighthearted adventure and outright horror, which might confuse younger viewers despite its PG rating. The decision to alter Dahl’s darker ending for a more upbeat resolution also feels like a compromise, diluting the story’s original bite—something Dahl himself reportedly disliked.

Stanley Myers’ score is another strong element, with its whimsical yet haunting melodies perfectly complementing the film’s dual nature. The music underscores both the magical wonder of Luke’s journey and the sinister threat of the witches, adding layers to key moments like the potion-making scene. However, the soundtrack lacks a truly memorable theme, which could have elevated its impact further.

Ultimately, “The Witches” is a flawed but captivating gem that thrives on its unforgettable visuals and Huston’s powerhouse performance. While it doesn’t fully capture the unrelenting darkness of Dahl’s book, it remains a bold adaptation that dares to scare its young audience while sprinkling in moments of humor and heart. It’s a testament to the era’s willingness to take risks with children’s cinema, even if it doesn’t always stick the landing. For fans of dark fairy tales or nostalgic ‘90s family films, it’s a must-watch, though it may not resonate as deeply with modern audiences accustomed to smoother storytelling.

# Reactions

Critic Reactions:

Major critics have offered mixed-to-positive takes on “The Witches.” Roger Ebert, in his 1990 review, gave it 3 out of 4 stars, praising Anjelica Huston’s “brilliantly evil” performance and the film’s “imaginative special effects,” though he noted its uneven tone might unsettle younger viewers. Janet Maslin of The New York Times lauded the “ghoulishly funny” visuals and Huston’s “operatic villainy,” but criticized the film’s pacing as “erratic.” More recently, retrospective reviews, like one from Empire Magazine, have called it a “cult classic” for its daring approach to children’s horror, though some lament the softened ending.

Audience Reactions (Social Media/X Posts):

1. @MovieNerd92: “Rewatched The Witches (1990) last night. Anjelica Huston is pure nightmare fuel! Still gives me chills. #ClassicHorror”

2. @FamilyFilmFan: “Showed my kids The Witches. They loved the mouse stuff but got scared during the witch reveal. Maybe not for under 10s? #90sMovies”

3. @RetroCinephile: “The Witches is peak ‘90s weirdness. Those practical effects are unreal! Wish they kept the book’s ending tho. #RoaldDahl”

4. @HorrorMama: “Anjelica Huston as the Grand High Witch is ICONIC. The Witches still holds up as creepy family fun. #HalloweenWatch”

5. @CinemaSkeptic: “The Witches (1990) is kinda messy. Cool visuals, but the story feels all over the place. Huston carries it. #MovieReview”

# Ratings

– IMDb: 6.8/10 (based on 55,000+ user votes)

– Rotten Tomatoes: 93% Tomatometer (based on 43 critic reviews); 70% Audience Score (based on 25,000+ ratings)

– Metacritic: 78/100 (based on 17 critic reviews)

Overall, “The Witches” enjoys strong critical acclaim, particularly for its performances and effects, though audience reception is slightly more mixed, likely due to its tonal inconsistencies and dated elements. It remains a beloved cult classic for many, reflected in its high Rotten Tomatoes critic score and enduring fanbase.