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Movie Review

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

Alex Bentley
Oct 22, 2020 | 3:05 pm
Anne Hathaway-led The Witches entertains and disturbs in equal measure
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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.

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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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Movie Review

Summer camp drama The Plague proves middle school is still pure horror

Alex Bentley
Jan 2, 2026 | 2:30 pm
Everett Blunck in The Plague
Photo courtesy of IFC
Everett Blunck in The Plague.

Anybody who’s attended elementary school in the last 100 years knows the concept of “cooties,” a fictional affliction that is typically caught when touched by a member of the opposite sex. A more updated version of the same idea is featured in the Diary of a Wimpy Kid series, this time called the “Cheese Touch,” making anyone who touches a moldy piece of cheese on the school’s basketball court an outcast.

A much more menacing version of this “disease” is on display in The Plague, which takes place at a summer water polo camp for tweens. The film focuses on Ben (Everett Blunck), a slightly awkward boy who struggles to fit in with the “cool” crowd led by Jake (Kayo Martin). That group has no problems making fun of others that they deem to be different, especially Eli (Kenny Rasmussen), who has been ostracized because of a rash he has that the kids call “the plague.”

Ben wants to be part of the main group, but his natural empathy leads him to reach out to Eli on more than one occasion despite Eli engaging in some uncomfortable behavior. With the camp’s coach (Joel Edgerton) not much help when it comes to the bullying tactics by Jake and others, especially those that take place at night, Ben is left to fend for himself. His vacillations between wanting to be accepted and wanting to do what’s right continue until his hand is forced.

Written and directed by first-time feature filmmaker Charlie Polinger, the film has all the feel of a horror movie without actually being a horror. The staging used by Polinger gives the film a claustrophobic feel as Ben can’t seem to escape the psychological torture inflicted by Jake and others no matter where he goes. He also employs a jarring score by Johan Lenox to great effect, one that’s designed to keep viewers on edge even when nothing bad is happening.

No matter how far removed you are from middle school, the film will likely bring up feelings you thought you had left behind. Much like with Bo Burnham’s Eighth Grade, Polinger finds a way to tap into something universal in his depiction of tweens, an age when everyone is still discovering who they really are. Some go along to get along, others don’t even attempt to fit in, but no one truly feels settled.

Whether the plague is real or not in the world of the film is up for debate. While most of the time it comes off as something made up to underscore the feeling of otherness felt by Ben, Polinger does literalize it to a degree. He even tiptoes up to the line of body horror before wisely retreating, although what he does show will still make some viewers squeamish. However, because he seems to be leaning one way before pulling back, there’s the possibility that some will be disappointed by the tease of something more intense.

The film’s biggest success is in its casting. Finding good child actors is notoriously tough, and yet Polinger and casting director Rebecca Dealy found a bunch who sell the story for all it’s worth. Blunck, Martin, and Rasmussen get the most play, but everyone else complements them well. Edgerton is the only well-known actor in the film, but he’s used sparingly and isn’t asked to do much, leaving the kids to carry the story on their shoulders.

Fitting in as a tween is hard enough without others actively trying to find ways to cast someone out. The Plague is an effective demonstration of the dynamics that can play out in a competitive environment that also includes a group that has yet to develop into fully-rounded people. It features discomfort on multiple levels, marking an auspicious debut for Polinger.

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The Plague is now playing in theaters.

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