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    Movie Review

    Anne Hathaway-led The Witches entertains and disturbs in equal measure

    Alex Bentley
    Oct 22, 2020 | 12:00 pm
    Anne Hathaway-led The Witches entertains and disturbs in equal measure
    play icon

    Director Robert Zemeckis has had one of the most interesting careers in Hollywood. He’s rarely been limited by genre or style, bouncing around from films as varied as Back to the Future, Forrest Gump, Contact, Cast Away, The Polar Express, and Flight. Now he’s back with a pivot toward kids’ movies with the season-appropriate The Witches.

     

    Based on the Roald Dahl book (which also had a 1990 adaptation starring Anjelica Huston), the film centers on a boy (Jahzir Bruno) who has lost his parents and gone to live with his grandmother (Octavia Spencer). On vacation at a seaside hotel, they run into a convention of witches, led by the Grand High Witch (Anne Hathaway).

     

    The witches’ master plan of turning children into mice via poisoned candy soon ensnarls the boy and Bruno (Codie-Lei Eastick), another young boy staying at the hotel. With the help of his grandma and pet mouse, the boy tries to find a way to reverse the curse put upon them, and stop the witches' plan before it gets any bigger.

     

    Written by the powerhouse team of Zemeckis, Kenya Barris (Black-ish), and Guillermo del Toro, the film tries to pack a lot of things into its running time. The boy and his grandma have been transported from the location of Europe in the book to 1960s America, and changed from white to Black, a decision that pays both subtle and overt dividends. The presence of del Toro — who also produces alongside another master filmmaker, Alfonso Cuaron — seems to have a definite influence on the creepiness factor of the film, as the man who made Pan’s Labyrinth and The Shape of Water knows his way around weird creatures.

     

    And things certainly get disturbing, or at least as much as a PG-rated film can. The design of the Grand High Witch, with her wide, sharp-toothed mouth, single-toed feet, and clawed, stretchy arms, is enough to give anyone nightmares. The turning of the two boys into mice goes quickly from scary to fun, as they turn their predicament into an adventure instead of dwelling on the horror of the situation.

     

    Zemeckis has come a long way from his Polar Express days, as instead of going for any kind of reality with the CGI, he plays into the cartoonish nature of the story. The mice are cute, the witches are ugly in all their forms, and the scenes get increasingly over the top. He never tries to make the slight story anything more than what it is, hitting the high points from the book with the gusto they deserve.

     

    The film is absolutely lousy with gifted actors. Bruno has a short-but-stacked filmography that points toward big things for him in the future. Spencer is always a welcome, warm presence, while Hathaway hams it up relentlessly, which is just what her character requires. Stanley Tucci as the hotel manager and voice turns by Chris Rock and Kristin Chenoweth keep the film entertaining throughout.

     

     The Witches is one of those stories that you could see being retold every 30 years or so, with another filmmaker returning to the classic book to creep out and entertain a new generation of kids. And with lots of talent both on screen and behind the scenes, this version may thrive for years to come.

     

    ---

     

    The Witches is streaming exclusively on HBO Max.

    Octavia Spencer, Jahzir Bruno, and Stanley Tucci in The Witches.

    Octavia Spencer, Jahzir Bruno, and Stanley Tucci in The Witches
      
    Photo by Daniel Smith
    Octavia Spencer, Jahzir Bruno, and Stanley Tucci in The Witches.
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    Film Fest News

    Top picks of the 2025 Asian Film Festival of Dallas coming in July

    Teresa Gubbins
    Jul 3, 2025 | 11:27 am
    Baby Assassins: Nice Days
    AFFD
    Asian Film Festival's Baby Assassins: Nice Days

    The annual Asian Film Festival of Dallas — a nonprofit dedicated to celebrating Asian and Asian-American filmmakers — returns in 2025 with more than two dozen films including action movies, comedies, thrillers, and short films.

    The four-day festival will take place July 24-27 at the Angelika Film Center Dallas, 5321 E. Mockingbird Ln. #230, and will include award-winning films, premieres, and red carpet action.

    Highlights include:

    • Opening Night July 24: Shinji Araki's Japanese thriller Penalty Loop
    • Centerpiece July 25: Johnny Ma’s comedy-drama The Mother and the Bear (Johnny Ma will also be in-person at AFFD to participate in the post-screening Q&A.)
    • Women's Showcase July 26
    • Closing Night July 27: Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days

    AFFD will also host a special Saturday Women’s Showcase spotlighting female filmmakers from across Asia—South Korea, India, Singapore, and Vietnam—as well as the U.S.

    "For the festival as whole, while fans can still count on the high-energy action films we’re known for, a deeper theme emerged as I programmed the lineup — the power of connection," says Programming Director Paul Theiss in a release. "This year’s festival explores the deep human need to reach out, be seen, and never go it alone. And what better place to celebrate that spirit of connection than at a film festival, which brings us together through the shared experience of storytelling.”

    Women's Showcase
    Highlights include:

    • Mye Hoang's 25 Cats From Qatar. Film about an American flight attendant and cat cafe owner who reacts to a homeless cat crisis in Qatar by coming up with a plan to fly 25 cats to Milwaukee, with her cat cafe providing the way for people to adopt them.
    • Dương Diệu Linh’s Don’t Cry, Butterfly. Focuses on a wedding venue staffer who learns of her husband’s affair while watching live TV. Instead of confronting him, she uses a voodoo spell to reclaim his love.
    • Nelicia Low’s Pierce. Thriller follows the push and pull between a young fencer and his estranged older brother, recently released from juvenile prison after serving time for killing an opponent during a fencing match.

    All three filmmakers will be in Dallas to participate in Q&As following their screenings.

    Sunday will feature films with attending filmmakers leading up to the Closing Night screening of Yugo Sakamoto's Japanese action-comedy Baby Assassins: Nice Days, including:

    • Jeff Mann’s Paper Marriage finds comedy and drama in the story of a Chinese immigrant facing deportation, who pays an unemployed and directionless man to marry her.
    • Lee Jong-min and Yeum Moon-kyoung’s South Korean comedy The Last Woman on Earth looks at a female screenwriter who finds tension with her fellow film students due to her script’s anger toward men.

    Also noted for its singular party presentations, this year the Asian Film Festival of Dallas will complement the screenings and filmmaker appearances at AFFD with Opening Night, Centerpiece, and Closing Night parties at the Angelika Film Center with Asian cuisine and crafted drinks by George Kaiho, featuring Suntory Japanese Whisky, as well as themed presentations, filmmaker meet-and-greets, and photo opportunities for film fans who have come out to enjoy the great AFFD programming during those evenings.

    To purchase badges, tickets, and find a full list of all the films, go to asianfilmdallas.com.

    Over the last 20+ years, the festival has provided opportunities for more than 400 Asian and Asian-American filmmakers to share their vision, often providing the only venue for their films to be shown in Dallas. The films have also allowed festival goers a chance to experience other lives and cultures without leaving their seats.

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