I never caught The Last Witch Hunter on its initial theatrical release. Judging by the initial reaction I dodged a bullet. Perhaps my expectations were too low, but visiting it for the first time I must say it wasn't as horrible as I was imagining. Sure, Vin Diesel's stone-like presence isn't great for a film like this, and sure the information surrounding his abilities as a witch hunter are murky. Yet, there's enough there to hold interest, which is more than I thought would be possible.

The Witch is a masterful slice of folk horror and Second Sight has done it justice. I would have liked something deeper from the production side, but the extras provided are very good, and the film itself looks amazing. Essential for anyone’s collection. evidence, and arguably not that much altered by Dolby Vision, there are some really interesting new beiges and tans noticeable in such familiar 17th century environment, albeit with a spooky supernatural air wafting through the misty woods, and that "folktale" element tends toNew England, 1630. Upon threat of banishment by the church, an English farmer leaves his colonial plantation and relocates his family to a remote plot of land on the edge of an ominous forest—within which lurks an unknown evil. Strange and unsettling things begin to happen —animals turn malevolent, crops fail, one child disappears and another seems to become possessed by an evil spirit. With suspicion and paranoia mounting, daughter Thomasin is accused of witchcraft. Witch seems to be less concerned with any "hidden meanings" than in an almost cold and calculating portrayal of some Early Americans side of things) a goat being used, both of which suffuse the film with almost Jungian levels of meaning. The "intrusion" of the supernatural, Short film: Brothers – a movie that was made to show he could work with a small family unit in a rural setting. This charts the problematic relationship of two siblings and their abusive grandma. One day the two boys go into the woods with rifles. As dark, tense and emotionally complex as what we’ve come to expect from Eggers. (10 minutes) whether perceived or real (not that The Witch is concerned with that aspect), into the everyday is what continually gives the film its

children. Once again, though, the film is almost weirdly restrained in its depiction of an all enveloping terror subsuming the family. (There aremoments as the early scene introducing two of the focal children. In terms of the blue gradings, some scenes here approach a lighter teal tone than is