daniel
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Post by daniel on Feb 20, 2016 0:42:04 GMT -5
Boy oh boy.
I have not seen a movie cause such divisiveness in some time.
The VVitch is a period film, set amongst the time of the Puritans. A family is banished from their community and choose to build a farm right on the edge of perilous, dangerous woods that Father forbids the children to enter. When the family's newborn son is snatched away suddenly, and seemingly impossibly, the family begins to unwind. It doesn't help matters that the disappearance was at the hands of a witch in the woods, who begins to further complicate the family's struggle through pure evil and dread.
Folks, first off let me say this - the marketing for this movie is downright criminal. I had never heard of this until a few weeks ago when I was reeled in entirely by the trailer. I went to a sneak preview night at the Alamo Drafthouse, a theatre made for film snobs and nerds who will relentlessly kick anyone from the movie who is being disruptive in any way. The theatre was packed, and people seemed excited. The trailer led us all to believe this was a thrilling horror film, but it turned out to be something else, more or less. It was evil, it was disturbing, it created a lot of tension and built up levels of creepiness that made my skin crawl. The cinematography was beautiful, the directing superb, and the acting skilled. However, it never really found its footing when it came to the actual story. I argue that the film found itself of two minds that never really melded well together: supernatural witchcraft, but, also, complex, psychological family drama.
When the film opens, we see the family's banishment, and then we are immediately shown the abduction of their newborn baby. Said baby is then shown in possession of the Witch, who proceeds to kill and grind the baby up into a paste which she rubs all over her body and her stick before flying off into the sky on said stick. It is there a supernatural horror with a real villain is introduced, but, then, the movie switches back to its "reality" face and gives us an extremely lengthy and slow amount of family drama in the way of the mother's despair, the daughter's alienation, the father's piety, and the eldest boy's desire to make his father proud by following in his pious ways, but finding the struggle with lust to be a heavy burden. The youngest twins are entirely there for trope purposes, acting obnoxious while also being used to set up one of the other extremely obvious (again: tropes) villains.
The woods are not to be traveled into, sayeth the Father, but, of course, we had to be given the trope of "we will make our home right along the edge of the forbidden place none shall enter." When the woods are finally entered, it proves to be the beginning of the presence of sin and evil, and things begin to go downhill. While the movie starts to then completely play in the sandbox of family drama and religious dogma, a scene occurs that reminds us this is a supernatural witch movie, when the eldest son's issues with lust cause him to willingly enter the abode of the witch. This was a moment in the film that rang solidly for me - it was here we see that the Witch is quite cunning and calculated, as she somehow knows what issues the boy struggles with, and then uses that to her advantage. At once, my mind started anticipating how this would play out with the Father, as his struggle with his faith and doing the right thing was tested, and could have been further tested in a rather tense scene with the Witch. Unfortunately, the Witch is only seen one more time after her brief appearance here, and we are left to, once again, deal with the exposition of family drama in the aftermath of the Witch's tricks.
The other villain then makes themselves known, and suddenly we are left with just one character, who then proceeds to take us back to the supernatural horror film we keep seeing glimpses and affects of. It was a moment I had anticipated the entire film, because everything in the movie was basically pointing to the inevitable outcome of this character's involvement in the evil. This led to what I would call a truly "WTF" ending that goes full-on supernatural, then just drops its audience. As the credits began to roll, I sat there with my sister saying "wait, so there definitely was a whole lot of actual supernatural evil shit going on in the woods, but they just kept churning out this slow burn story with the family and had them hardly interact with said supernatural elements?" The film just never married the two very well, and it was entirely the opposite of cohesive.
It felt a lot like the Series 1 finale of Heroes, where a lot of buildup and action occurs, but, in the end, the battle we were hoping to see was kept being a mostly-closed door, with just the affects of that fight seen in small glimpses.
There are countless comparisons to Babadook and It Follows, but those movies were much better and watchable than this. The tone itself was like The Village married with Antichrist. Again, there are a number of positive elements to the film, but the story was handled in a very muddled way. We were shown the capability of the Witch to prey on the weakness of a person, and the movie spent a LOT of time really hitting the Father's piety home, so I think a really solid opportunity to both show the Father's struggle if also seduced by the Witch, along with, perhaps, the Mother's interaction with the Witch would have made for a more compelling story, and given us much more time with the Witch.
However, if you are good with basically watching a movie about how a family falls apart in the wake of an evil Witch's actions, then this is definitely the movie for you. It wore a suit, a neat mustache, and a top hat, but it wasn't as smart and refined as it presented itself to be, and it certainly was not the terrifying horror movie the marketing campaign would lead you to believe it was.
5/10
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SnoBorderZero
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Post by SnoBorderZero on Feb 22, 2016 22:54:18 GMT -5
The Witch centers on a family in 1600s New England, a period dominated by religion and irrational behavior and fear at all things unknown, that break from their small village to live a rural life on the edge of a forest. Thomasin is the eldest of the children and early on appears to be in a struggle with religion, as evident by her open prayer about the sins she has committed as she attempts to wade through adolescence under the watchful eyes of her extremely pious parents. Her younger brother, Caleb, also is fighting an internal struggle with adolescence while he steals looks at his older sister but fights these thoughts out of fear of angering his father. I was pleasantly surprised by Ralph Ineson's performance as William, the father. From the trailers I fully expected him to be this overly religious and dominating patriarchal character, but instead he was a beacon of hope and reason amidst all the turmoil the family begins to encounter. The cast overall does a very strong job, and despite the temptation to overplay their reactions to the supernatural occurrences in the film, director Roger Eggers is able to elicit believable and grounded performances from his cast that makes the film so much more effective than typical horror film fare. The technical aspects of the film are easily its strongest asset. Shooting in natural light is nothing new, and just recently we've seen the incredibly positive effects this aesthetic can have with The Revenant and how it works so well for period pieces in evoking the true feeling of nature and its landscape. The same can be said for The Witch, which uses moonlight, the orange glow of candles, crushed blacks, and washed out window panes to great effect. It's also very clear that a great deal of meticulous research and attention to period detail has been made by Eggers, and like the film or not there's no denying that he's elevated this above pretenders relying on horror film cliches about witches rather than the folktales and mixing of fantasy and reality that seemed so possible in the 1600s. This is a time in America when spiritual good and evil really did seem to be as part of society as anything, and even when the film veers completely away from realism, The Witch maintains a fascinating sense of grounded. Before seeing the film, I admit that I was already trying to figure it out. Would there even be a witch? Was it just going to be solely psychological, and that the superstitious mentalities of the time period would be what really deteriorates the family? Early on both of these questions are quickly answered, and that may be the moment that people decide if they like the film or not. The Witch certainly won't leave many in the middle, though I can also confirm that the film doesn't resort to cheap tricks or twists either. It's refreshingly eerie, relying on atmosphere and brooding tension as opposed to the highly annoying pop scares and red herrings. The last 15 minutes essentially unfold like you think they will, until they don't. Despite the overt supernatural elements of the film, I did not expect Thomasin to completely become a witch at the end. I always just figured she'd be consumed, but not so willingly. As she stumbles upon a witches' ceremony in the middle of the woods, she begins to levitate up to the sky while the camera remains in a tight closeup on her face. We can see the pure bliss as the escapism flows through her. She is relinquished of the religious fear and societal dictations that have plagued her. It's an interesting analogy for what many of the women at the time probably felt. The ending, like it is for many horror films and thrillers, is essentially what will make or break the film for most viewers. I found it to be very interesting and it certainly lingered with me afterwards. I don't want to get into too much detail because the film is only 90 minutes long and is really something that can't be described but should be experienced. The acting, cinematography, impressive attention to period detail, and refusal to succumb to cheap horror tactics makes The Witch an impressive debut for Eggers. I do not disagree with daniel's points. In fact I agree with his ideas that these could've strengthened the film, especially since it would've made the witch more involved in the plot. Though it's always that age old question of is it more effective because we didn't see it, because we didn't go that route? I can see it working either way, but in the end I'm thankful that the film never veered off into the blatant absurdity that most films in the genre do. 8/10 |
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Post by daniel on Feb 23, 2016 16:21:53 GMT -5
It's refreshingly eerie, relying on atmosphere and brooding tension as opposed to the highly annoying pop scares 8/10 I disagree with this part, though it might be due to bad memory. I seem to recall the only times I jumped or found myself unnerved was when it was really quiet, and the overused out-of-tune violin string got me jumping. Or when the goat did its thing with the dad. It didn't really seem all that original and still used jump scares. |
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Post by PG Cooper on Feb 23, 2016 16:26:14 GMT -5
Loved this movie.
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Post by SnoBorderZero on Feb 23, 2016 16:40:38 GMT -5
It's refreshingly eerie, relying on atmosphere and brooding tension as opposed to the highly annoying pop scares 8/10 I disagree with this part, though it might be due to bad memory. I seem to recall the only times I jumped or found myself unnerved was when it was really quiet, and the overused out-of-tune violin string got me jumping. Or when the goat did its thing with the dad. It didn't really seem all that original and still used jump scares. True, there are some jump scares, though they didn't feel cheap for the most part. I didn't find the film to be scary, but I think it utilized its setting pretty well for being another horror film set in the woods. By that I mean it didn't overplay itself, it still certainly relies on horror movie tropes. I don't think it's better than It Follows from last year, but they stayed pretty true to the folktale element. |
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Post by PG Cooper on Feb 23, 2016 20:14:59 GMT -5
Horror cinema has seen something of a renaissance in recent years, with films like The Babadook and It Follows receiving high acclaim from critics and managing to break through the white noise of studio filmmaking. I too really enjoyed these films and found them to be head and shoulders above the competition from mainstream Hollywood. Having said that, great as The Babadook and It Follows are, both films are playing within existing formulas, the filmmakers are just executing at a greater and more creative level. I’ve still been waiting for a horror film to push boundaries and deliver a truly awesome and original experience. That wait has finally come to an end thanks to a little film called The Witch.
This is a hard film to write about in terms of plot. The actual story at the heart of The Witch is very simple and to reveal any more than I have is to give too much away. I say this especially given that I went into the film with next to no information. I hadn’t seen a trailer, TV spot, or read any reviews. I didn’t even know the film was set in the 17th century. All I knew was that it was a well-reviewed horror movie and that’s all I needed. Still, the basic premise is that in the 17th century, a puritanical family is exiled from a New England plantation due to religious differences. Upon their exile, the group come to an isolated patch of land at the edge of a large forest where they build themselves a farm and try and make a life for themselves. However the family is haunted by a strange presence from the forest which continually harms them in increasing ways.
The most impressive element of The Witch is the craft. This is Robert Eggers freshman effort, but this doesn’t feel like the work of a first time filmmaker. Eggers has an excellent handle on tone and does a great job building a feeling of dread which gradually increases as the film goes. The film also has some really gorgeous cinematography and the score is excellent too. The film’s style is significant, not just because of how well-executed and engrossing it is, but for the ambitions. It feels like Eggers is trying to tap into something grander than just the base story. The film has a slightly abstract feel. Despite a relatively simplistic story, the film often keeps things hidden or just out of view. There may be a powerful supernatural element in the film, but the central family clearly had a lot of problems before hand and it’s also pretty clear these issues are in some ways influenced by the family’s strong religious convictions. The film certainly functions as a metaphor for the consequences of radical belief. Additionally, the score and cinematography evoke a real sense of mystery even when the plot seems so straightforward.
It is perhaps a disservice to go too deep discussing the film’s meanings and ambition because this does function extremely well just as a work of horror filmmaking. A creepy atmosphere is set in the opening scene which only rises as the film moves forward. There are also some set-piece moments which are truly frightening and masterfully executed. It should also be noted that the bulk of the film is set either in the forest or on the family’s rather plain village. And yet in spite of these seeming limitations, Eggers does a fantastic job creating horrific and memorable imagery which sticks out. It should be noted however that the film is very far removed from the type of horror movies a moviegoer raised only on Hollywood will be used to. This is a slow paced film which is very abstract, steeped in old language, and lacking conventional exposition or jump scares. For me, this was great, and far more effective than most mainstream horror films, but anyone just looking for some fun scares might be disappointed.
The Witch is the best horror film I’ve seen in years. Not only does the film excel as a work of horror filmmaking, but Robert Eggers seems to genuinely want to push the medium to say something more. This is a wonderfully well-crafted film with great scenes, interesting characters, and some very provocative ideas. So will the film help spearhead a revolution in horror filmmaking? Well, I’m not entirely sure. Despite the excellent reviews, the film is already developing a backlash on social media from people who went in unprepared for something so abstract and different. Everyone is entitled to their opinions of course, but I sincerely hope that the backlash doesn’t convince studios to pull support for films like The Witch. I love this movie, and I’d love to see even more daring horror cinema in the years to come.
A
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Post by PG Cooper on Feb 23, 2016 20:20:22 GMT -5
Oh, and I should point out that my comments about the backlash are in no way a reference to Daniel, but to tweets I saw.
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daniel
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Post by daniel on Feb 24, 2016 0:11:14 GMT -5
I just hate that the opposing rhetoric to those who didn't like it is completely condescending and consists of "this doesn't appeal to people looking for fun scares or jump scenes or a typical slasher or typical horror" tripe.
I've seen plenty of high-brow, artsy horror movies that worked for me. This didn't. Putting me and others who share my opinion into some camp of Hollywood-blockbuster-suckling plebeians is shitty of you, PG Cooper. Give your opinion of the film, but don't think so highly of your opinion that you feel the need to take petty swipes as people who don't share it.
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Post by daniel on Feb 24, 2016 0:28:25 GMT -5
I disagree with this part, though it might be due to bad memory. I seem to recall the only times I jumped or found myself unnerved was when it was really quiet, and the overused out-of-tune violin string got me jumping. Or when the goat did its thing with the dad. It didn't really seem all that original and still used jump scares. True, there are some jump scares, though they didn't feel cheap for the most part. I didn't find the film to be scary, but I think it utilized its setting pretty well for being another horror film set in the woods. By that I mean it didn't overplay itself, it still certainly relies on horror movie tropes. I don't think it's better than It Follows from last year, but they stayed pretty true to the folktale element. The setting, the cinematography, the acting, all truly superb. I really cannot fault any of that, and I think my biggest disappointment was that it could have been so much more had the story been as good. Like I said in my review, he went all-out with the witches powers, but kept pulling back to the family religious dynamics. If you're going to showcase witches that shapeshift, fly on broomsticks, levitate, have animal mediums, not to mention a goat that talks and turns into a person, then you owe it to your audience to give them a movie that involves more of that. I'm not asking for a remake of The Witches here, but all the widespread backlash is deserved - the director/writer dangled a carrot in front of audiences, but gave them the stick. I loved a lot of the scenes, I liked the family interactions and the buildup of terror and horror, but the film's biggest inherent weakness was leaving scenes of a family very grounded in reality by snapping to scenes involving supernatural witch powers. The ending, the talking goat, the shapeshifting witch that kissed the boy, it was a jarring removal from a film that was mostly grounded in realistic religious and family struggle. Since it was the father's piety front-and-center in the story, I would have expected much more of a challenging of his faith with the Witch. I would have preferred the mother face her actual tormentor. I would have loved to see the movie remain full-dark and have the parents witness the downfall of their daughter, and then have an epiphany of their own pious failures. In the end, the dad simply breaks down, says he has been prideful, and is shortly thereafter abruptly impaled by a shift-shaping, talking, demon-possessed goat who leads his naked daughter in the woods so she can fly into the sky with the witches and roll credits. I appreciated this movie intellectually, but it was not particularly satisfying on a storytelling level. |
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Post by PG Cooper on Feb 24, 2016 9:45:39 GMT -5
I just hate that the opposing rhetoric to those who didn't like it is completely condescending and consists of "this doesn't appeal to people looking for fun scares or jump scenes or a typical slasher or typical horror" tripe. I've seen plenty of high-brow, artsy horror movies that worked for me. This didn't. Putting me and others who share my opinion into some camp of Hollywood-blockbuster-suckling plebeians is shitty of you, PG Cooper. Give your opinion of the film, but don't think so highly of your opinion that you feel the need to take petty swipes as people who don't share it. I literally said that I was not referring to you at all. Mostly I was referring to a lot of tweets saying stuff like, "WTF. The Witch is boring and stupid." Furthermore, my greater point was simply that I hope the backlash doesn't scare studios away from backing movies like this, not to belittle people who don't like the movie. |
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Post by Justin on Mar 3, 2016 17:32:11 GMT -5
I absolutely love this movie. Between the ominous score, the great acting, and the rich subtext, I am most definitely going to see it again before it leaves the theater. It will also most likely make my top five at the end of the year.
Rating: A
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Post by Dracula on Mar 20, 2016 7:32:04 GMT -5
The Witch(2/20/2016)
The 2010s have, on balance, been a rather frustrating decade for horror so far. 2009’s Paranormal Activity did a real number on mainstream horror and have ushered in a truly frustrating era where seemingly every horror flick has been about invisible ghosts banging doors and rattling chains for 90 minutes with maybe an exorcism or something at the end. This isn’t to say that there isn’t some fun to be had from such movies and that I don’t enjoy the best of them, but they seem particularly cheap and uninspired on balance. At least during the Saw/Hostel era of hyper-violent “torture porn” you could at least have fun pretending that the movies were allegories for Abu Ghraib or something, but this new crop is pretty much just an exercise in how it’s kind of fun to have things jump out at you sand say “boo!” In the last two years we were given two movies that rose above the fray and seemed like they were finally signs of change: The Babadook and It Follows. I liked both of those movies a lot, but I also thought both of them were a little less revolutionary than they seemed. The Babadook in particular was actually a lot closer to the “people haunted by spectral being that shows up and goes boo” formula that I’d long gotten sick of. It was really well made and cleverly used psychology rather than religion as the basis of its creepiness. It Follows, was slightly more original in so much as the ghost behaved differently from usual but it had its own baggage, namely that it’s style aped a little too much from John Carpenter. It’s a new year now and with it comes the new “next great hope” for the horror genre and one of the most promising yet in the new film The Witch.
The film is set in late 17th Century New England, and focuses on a family of puritans who have been banished from the main puritan city for having unspecified theological differences with the village orthodoxy and have ventured out to start their own farm away from civilization. The movie picks up a year or so later when this farm has been established but is not exactly prospering. The patriarch, William (Ralph Ineson), is not a particularly good farmer or hunter and his wife Katherine (Kate Dickie) has increasingly come to suspect that providence does not look kindly on their endeavors. Things really start to go awry when their infant child seemingly vanishes into thin air while their eldest daughter Thomasin (Anya Taylor-Joy) is watching him, leading to grave suspicion that something is amiss either in the woods or in the house.
Obviously the first thing that jumps out to the viewer about The Witch is its unique setting. There have not been many movies about the puritans outside of a few adaptations of The Scarlet Letter and The Crucible and it’s readily apparent that writer/director Robert Eggers has done his research. The film uses what sounds like period accurate dialogue that gives the film a needed verisimilitude and also makes the film distinctive from other horror movies. There’s kind of a widespread problem in cinema, and especially in genre cinema, where filmmakers are so obsessed with film that they end up drawing all their inspiration from other movies rather than the wider culture. There’s certainly a place for that (e.g. Tarantino), there’s really something refreshing about seeing a filmmaker come around who seems like he’s read a lot of books and has a wider base of knowledge to draw from.
To some extent this is still a haunting film of sorts but the feel is so radically different from the Insidiouses, Sinisters, and Conjurings out there that it’s barely noticeable. For one thing, the movie is largely devoid of “jump scares” and instead uses creepy images and ideas to fuel its thrills. I’m not going to say that this is the scariest movie one is likely to see and I wouldn’t necessarily recommend it to anyone as such, but it taps into the roots of the genre and uses interesting imagery and ideas to create unease in his audience but he also taps into some very human psychology to examine the paranoia of the situation. The film never plays coy about the fact that there is real and literal witchcraft plaguing this family, but it’s never clear to the family what’s plaguing them and they quickly begin to turn on each other in much the way things played out in Salem during the witch trials. This works in part because the film has done its work to build and develop the four main family members in the film and give each of them a fully fleshed out set of motives and conflicts.
The Witch is the first film from its director and its one hell of a debut at that. There’s a wonderful maturity to the film and a great uncompromising spirit to it. It doesn’t feel the need to dumb itself down for a mainstream audience and doesn’t pander to the whims of the hardcore horror audience. I began this review by pondering if The Witch would be the movie that would finally knock us out of this rut we’re in where every horror movie feels like a variation on Paranormal Activity. In the short term the answer is probably “no.” I don’t think this movie is going to be a box office smash and I don’t think studios are going to be rushing out to make clones of this. However, I do think that this movie is going to make a lot of noise in the greater film world and I do think it will have influence down the line. At the very least I’m hoping it will influence a few other directors working in the genre space to aim a little higher and give them the courage to aim a little higher and compromise a little less.
****1/2 out of Five
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Post by Justin on Mar 23, 2016 18:22:44 GMT -5
Great review, Drac.
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Post by daniel on Apr 1, 2016 21:15:21 GMT -5
Nope.
This movie is still a piece of shit that does things like have an idiot father move his family right to the edge of a dangerous forest that he forbids them to enter.
And, shows witches flying on broomsticks, shapeshifting, and levitating, and Satan masquerading as a goat, but wants to be all high-brow and pretentious.
And, that aforementioned Satan black goat is obvious as fuck from the first frame. Oh, and don't forget the trailer that made it look like he was standing up on his hind legs and attacking them.
Fuck this movie with a pretentious spoon. I'd rather watch Nymphomaniac pts. 1 and 2 again.
Seriously, you want smart horror, go watch It Follows, or Spring.
This movie is wanna be arthouse tripe.
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Post by Justin on Apr 1, 2016 21:27:18 GMT -5
Calm down....it's just a movie.
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Post by Dracula on Apr 1, 2016 21:45:44 GMT -5
Nope. This movie is still a piece of shit that does things like have an idiot father move his family right to the edge of a dangerous forest that he forbids them to enter. And, shows witches flying on broomsticks, shapeshifting, and levitating, and Satan masquerading as a goat, but wants to be all high-brow and pretentious. And, that aforementioned Satan black goat is obvious as fuck from the first frame. Oh, and don't forget the trailer that made it look like he was standing up on his hind legs and attacking them. Fuck this movie with a pretentious spoon. I'd rather watch Nymphomaniac pts. 1 and 2 again. Seriously, you want smart horror, go watch It Follows, or Spring. This movie is wanna be arthouse tripe. His decision to move the family into the woods is an act of hubris borne of his holier than thou belief that because he's found the "true" way to worship that he'll be protected from danger (not correct, quite the opposite). You'd be right to call the guy an idiot, but his actions are the result of interesting character motivations and not lazy screenwriting. To dismiss it as the equivalent of a group of horny teenagers spliting up in a dangerous situation or something is to miss the point. As for the fact that it's a horror movie that shows supernatural events occuring... not really sure what you're getting at there. It Follows shows stuff like ghosts chasing people, I don't think that precludes it from being quality cinema. |
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Post by PG Cooper on Apr 13, 2016 2:05:04 GMT -5
And, shows witches flying on broomsticks, shapeshifting, and levitating, and Satan masquerading as a goat, but wants to be all high-brow and pretentious. Why can't the film have those supernatural elements and not also be highbrow? The Exorcist is probably the most well-respected horror film of all-time and it has a little girl possessed by Satan doing crab walks down the stars, rotating her head 360 degrees, and peeing/vomiting every where. It's obvious to us as an audience because we're watching a horror movie called The Witch. To the family, it would just seem like children playing games. |
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Post by Justin on Apr 13, 2016 10:32:32 GMT -5
She peed/vomited so elegantly though.
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Post by Seakazoo on Apr 13, 2016 15:38:39 GMT -5
And, shows witches flying on broomsticks, shapeshifting, and levitating, and Satan masquerading as a goat, but wants to be all high-brow and pretentious. Why can't the film have those supernatural elements and not also be highbrow? The Exorcist is probably the most well-respected horror film of all-time and it has a little girl possessed by Satan doing crab walks down the stars, rotating her head 360 degrees, and peeing/vomiting every where. It's obvious to us as an audience because we're watching a horror movie called The Witch. To the family, it would just seem like children playing games. She's possessed by Pazuzu, actually. Not Satan. It blows my mind that people actually laugh off The Exorcist when it's still the scariest movie I've ever seen. But back to the topic I still need to see The Witch. |
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PG Cooper
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Post by PG Cooper on Apr 13, 2016 15:47:28 GMT -5
She's possessed by Pazuzu, actually. Not Satan. I know, but Pazuzu is just such a silly name. Plus I don't think they reference Pazuzu by name in the first film. |
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Seakazoo
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Post by Seakazoo on Apr 13, 2016 15:57:14 GMT -5
You're right
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Justin
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Post by Justin on Apr 13, 2016 16:16:17 GMT -5
The Exorcist is still one of my favorite movies. This may sound weird, but I watch it all the time.
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Seakazoo
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Post by Seakazoo on Apr 13, 2016 20:40:49 GMT -5
The Exorcist is still one of my favorite movies. This may sound weird, but I watch it all the time. I've only watched it all the way through once... Though does it really count if I watched it with my hands over my face? |
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Post by Justin on Apr 14, 2016 11:22:12 GMT -5
Still counts.
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Post by Ramplate on Jun 6, 2016 7:39:18 GMT -5
Good movie but the sudden end left me hanging - I wanted to see what she did next.
8/10
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