THE STORY – A cursed Witchboard awakens dark forces, dragging a young couple into a deadly game of possession and deception.
THE CAST – Madison Iseman, Aaron Dominguez, Melanie Jarnson, Charlie Tahan, Antonia Desplat & Jamie Campbell Bower
THE TEAM – Chuck Russell (Director/Writer) & Greg McKay (Writer)
THE RUNNING TIME – 112 Minutes
Sometimes, a familiar element from the past rears its head back into our modern age, sparking a bit of giddy excitement. It can be exhausting to a point with the endless remakes, but there are rare occasions when a callback from the past elicits more than an exhausted groan. “Witchboard” does indeed fall into the category of a remaking, or reimagining, if that’s a more palatable term. That fact alone is not what makes this new iteration anything of note. What is intriguing is its director, Chuck Russell. While he has had a string of films over the last few years, none of them have made quite the impact of his first three. Manifesting creative set pieces in “A Nightmare on Elm Street 3: Dream Warriors,” crafting a genuinely terrifying monster in the remake of “The Blob,” and making one of the most visually stunning comedies in “The Mask” left a distinct mark of a bold vision. No matter how much time has passed, a new work from such a filmmaker is of great interest. His latest effort looks to create a new spin on old material once again, though this effort’s results are decidedly more mixed.
The film starts with a harrowing scene set in the French countryside of the 17th century. A ritual is taking place where a group of witches, led by Naga Soth (Antonia Desplat), is about to murder a man. But her plans are interrupted, and the wooden board she was using to enact spells was taken from her (this replaces the Ouija board from the original film). Cut to centuries later, the board has found itself being possessed by a new owner. Emily (Madison Iseman) is a recovering drug addict trying to make a peaceful life with her boyfriend, Christian (Aaron Dominguez). Christian is about to open his new restaurant in New Orleans with friends who have also invested in the project. While hunting for fresh ingredients in the forest, Emily crosses paths with this board. A mysterious energy draws her closer to its orbit. She asks it questions, and it appears to guide her to correct solutions. But each task has fatal consequences in the real world, and she becomes haunted by visions of its previous owner. Seeking help from an occult specialist (Jamie Campbell Bower), Emily gets pulled further into the trap of the board and reveals a terrible secret that could cost her dearly.
As stated, the most engrossing facets of Russell’s career have been his ability to demonstrate a wildly creative and inventive vision. Sometimes in the service of serious dread and horror, sometimes to provide levity through absurdist imagery. However, there was always something uniquely inventive about what he brought to the screen. It is disappointing that much of the style feels muted in this story. He does manage to manifest some striking scenes now and again. The blood spilling out from a cut throat that is funneled into a carved pentagram in a wooden floor is a compelling moment. Yaron Levy’s cinematography occasionally indulges in some flashes of moody color. A psychedelic set piece towards the finale utilizes distorted faces in a manner that is quite unsettling in the best ways. Yet, most of these sequences are mere glimpses into a more engaging atmosphere. The visceral gore is often undercut by the less-effective CGI, which is particularly apparent regarding the blood that splatters with a fake sheen at almost every instance. Russell is still capable of creating some effective sequences, but he’s not given many opportunities to shine.
Those limiting factors seem to mostly be attributed to the screenplay by Russell and Greg McKay. The story faces similar problems to the 1986 original film, with a slew of pedestrian characters struggling to invest any kind of connection to their fates. The alterations here don’t necessarily solve these problems; they only give the narrative slightly more dimension. The evil force here is not merely a generic evil spirit but a vengeful witch with a long game plan for revenge. That initial idea has value, but the presentation never reaches for true innovation. The plights of the main characters are familiar sources of trauma that don’t play into any great thematic depth, and the villains’ motivations are rather banal, culminating in a messy climax with a physical altercation that is clumsily executed. As a foundation, it is solid enough for your typical horror picture. Still, the flat characterization and weak momentum can bring down whatever novelty the filmmaking is trying to bring as a means of compensation.
There is no question that Iseman is the best in show here. It’s an archetype that has been seen before: the young girl with a fragile psyche that is pulled into a dangerous plot that consumes her. Thankfully, her performance effectively conveys the genuine terror she perceives, and her moments of breaking down under the whirlwind of emotions thrown her way are very impactful. She is even given the opportunity to play in another register when Emily is being controlled by this entity, infused with an entirely new personality that creates a kind of dual role. It’s quite impressive to watch, and is only magnified when compared to Dominguez. His portrayal isn’t necessarily bad, but it is a completely bland and unmemorable turn as the other protagonist is nowhere near as enthralling. Bower is the only one who comes close to Iseman, using a devilishly foreboding screen presence that is truly in love with his villainy. It’s a broad performance that hits the tone perfectly, hanging on every word with a menacing aura that’s impossible not to be charmed by. One wishes that had also been extended to Desplat, who is mostly reduced to scowls under heavy makeup in her limited screentime.
There was potential for “Witchboard” to be a much more alluring film than it ended up being. It’s weighed down immensely by its mundane narrative and characters, which makes it difficult for the momentum to build up to any satisfying moment of tension. Still, even within this uninspired framework, the filmmaking can find occasions to punctuate the environment with some potent sequences. While there is a range of quality to the performances, those from the likes of Iseman and Bower go a long way to create a more enticing landscape, and one is drawn in by their talents. Russell has indeed found greater success in the past, even in the sequels and remakes he helmed early in his career. I can’t say this comes even close to those heights, but there might be just enough here to be somewhat engaged. Just not consistently enough to warrant enthusiasm.
