THE WITCHES

Anne Hathaway     Octavia Spencer     Chris Rock     Jahzir Bruno     Stanley Tucci

     When the witches are away, the mice will play.  This is a fun piece narrated by Chris Rock and starring him and two excellent actors, Octavia Spencer and Anne Hathaway, in a fantasy based on a Roald Dahl novel.  Kid-friendly, of course, but with suspense that is likely to be enjoyed by adults as well as children.  

     It starts out tragically, but Spencer’s warm presence as a grandma is soothing, and she has her work cut out for her with her grandson’s (Bruno) grief and, later, his dilemma.  To help him with his grief, Grandma (Spencer) brings home a pet mouse for her grandson, which does indeed spur him to move on to the next step.

     After the boy encounters a witch in the store, Grandma decides they need to go stay in a fancy hotel where the wealthy white people stay.  (This is on the premise that Witches only seek out minorities—e.g., the blacks—and the disadvantaged.)  Grandma knows this from losing her childhood friend in just such circumstances, and she informs her grandson about witches.  They are demons made to look like humans. They have no toes, no hands, no hair—and must compensate for this with gloves, wigs, high-heeled shoes, etc. When they go out in public, they look like regular society women.  

     By coincidence, the International Society for the Prevention of Cruelty of Children is having a convention at this very hotel.  Crossing of paths between this group (which is a front for the Grand High Witch played by Hathaway and her coven) and Grandma and her grandson forms most of a plot filled with nail-biting suspense, along with some horror and comedy.  Mice-phobic people might want to stay away—but should see—this escapade.

Special effects (Adrian Bennett, Fernando da Silva et al.) take center stage in showing what happens when magic appears to spice up the action in the story. Here it is used to engage the audience as much as the plot and the actors.  And it is so satisfying!

     Co-writer and director Robert Zemeckis, with the help of Alphonso Cuaron and Guillermo del Toro (Mexican filmmakers we all know and love), has assembled a cast and crew that elevate this film from a run-of-the-mill children’s movie to one that is capturing and entertaining, but has important messages related to acceptance of others, regardless of their appearance, the importance of family, and simply enjoying life, whatever happens.  

The film can be seen on HBO MAX beginning 10/22/20.

 

A film for the times in terms of its message and as a vehicle to escape momentarily the concerns of the day.

 

Grade:  A                                    By Donna R. Copeland

WELCOME TO MARWEN

Eiza Gonzalez     Steve Carell     Leslie Mann     Diane Kruger

Gwendoline Christie     Janelle Monae     Merritt Wever

     “Welcome to Marwen”—just know that your visit will be a strange one.  Based on a true story, this film by director and co-writer Robert Zemeckis was inspired by a 2010 documentary about the life and work of Mark Hogancamp, a man who was severely beaten outside a bar after his reference to people he was chatting with about cross-dressing.  Prior to this incident, he was an illustrator; but after his impairments (occurring after a nine-day coma and having to relearn how to eat, talk and write), he turned to photography; and to cope with the psychological after-effects, he used dolls and fantasies about them to work through his increased anxiety.

     The film begins with one of these fantasies in which the doll “Mark” (Carell) encounters German soldiers in WWII, and just when it looks like they will capture him, a group of powerful female soldiers rescue him and finish off the Germans.  This is only one of hundreds of scenarios Mark has come up with, in which he draws on the people he meets in his community for his characters (dolls).

     Mark Hogancamp is regarded as an “outsider artist”, one who has little/no educational background, but whose works become highly regarded by connoisseurs.  It’s admirable that he was able to use his remaining skills after the injuries to therapeutically work through the trauma.  Robert Zemeckis’s idea of using this material for a feature film is intriguing, but somehow it doesn’t work.  The actors are excellent (especially Carell showing the confusion and bewilderment of a troubled soul), and the special effects to capture puppets as real people are likewise impressive.  However, the alternations between reality and fantasy fail to engage.  I think another aspect of the film that doesn’t work is the attempt to portray a therapeutic approach—especially one used by an individual on his own. This is a turn-off for many viewers, who are not necessarily able to grasp the value of, for instance, an adult “playing” with dolls.  Unfortunately, I imagine that many will regard this as simply silly, even though it’s not, really.

     On a final note, it’s disquieting to see so many fine actresses wasted, such as Diane Kruger, Gwendoline Christie, and Janelle Monae.  Their roles are minimal.  Merritt Wever is perfect as a sensible, kind helper who is able to see past the weaknesses of Mark. Leslie Mann is featured more than the other actresses, but her child-like voice and manner bring nothing to the table of quality.

Visiting Marwen is likely to unnerve most viewers.

Grade:  C+                                    By Donna R. Copeland