It’s difficult to explain what this sequel is. It apparently exists in a world where The Blair Witch Project was just a fictional movie, but the Blair Witch herself actually does exist. That’s very hard to wrap your head around. This is one confusing movie which is nothing at all like the movie that preceded it. This script seems like it was never finished as if the screenwriters came up with all these clever little psychological plot twists, but never had the time to conjure up any answers to them. The film is certainly creepy, but I really don’t know what it is about it. There are a good number of surreal events in this film. It’s like a very large dream that no one wakes up from until the very end. And it’s not about perspective, it’s about the illusion of reality – did it really happen that way or not? Everyone swears that it happen like this, we saw it happen right there on the screen, but then, we have undeniable proof that it happened completely differently. Don’t know what I’m talking about? Well, that’s how the film has left me feeling all these years.
The movie starts out documenting the phenomenon that was The Blair Witch Project with television clips of movie reviewers, news casts, and fans talking about the film. One of these fans is Jeffrey Patterson (Jeffrey Donovan) who was inexplicably an ex-mental patient, a fact that is never truly explored. Jeff now runs The Blair Witch Hunt, a tour guide of everything Blair Witch – including merchandise. We learn that Jeff is not a fan of Burkittsville, and they are no fans of his – especially Sheriff Cravens (Lanny Flaherty). The two seem to have a degree of implied history with one another that strains many events throughout the film. Regardless, Jeff gets four people to sign up for his inaugural tour – Kim Diamond (Kim Director), the hot goth chick, Erica Geersen (Erica Leerhsen), the real-life witch and a student of Wicca, and Tristen Ryler (Tristen Skyler) and her boyfriend Stephen Ryan Parker (Stephen Barker Turner). The five venture out into the wilderness, and spend a night on the foundation of Rustin Parr’s house. Strange things happen that night, and when they wake up, they have no knowledge or memory of those events which leave many baffling questions for them. Although, it is only the beginning, and things are going to get much more bizarre and surreal before it is all over. As the movie goes on, each character’s sanity unravels in unique fashions in the face of bewildering paranormal events. Some are paranoid, some are hysterical, some are in denial, and some become very, deeply disturbed as they ultimately cannot discern what truly is reality.
The confusion with this film stems from a jumbled mess of editing and structure. At times, you will inevitably be disorientated simply by the flashbacks, flash-forwards, and flashes back to the present. It destroys any cohesion the film might have had, and of course, this was all studio imposed. The directors original cut was entirely linear, and I would like to see that version. However, that is merely one element of the larger mess. The latter half of the film takes place in Jeffrey’s isolated warehouse in the woods where he lives and works. That’s where all of the hallucinatory and reality bending hysteria takes place. Everyone suffers from it with some horrifying imagery, and there are a few revelations, but only one that really explains anything at all. Simply stated, we are presented with one reality as we watch events unfold on film, but video footage from Jeffrey’s camcorder and security camera footage reveals an alternate series of events occurring. Neither of which are given any more credibility as being truer than the other. What this movie gives us is a massive load of strange questions without so much as an attempt or even a hint at an answer. This is a film which leaves you bewildered at the end. I don’t demand that a film blatantly answer every question or explain every little detail, but to leave an audience with absolutely zero evidence as to a theory of the truth is simply insulting. You have just wasted an audience’s time on a completely nonsensical film that simply throws contradictions at them without a resolution.
This movie was directed by Joe Berlinger, the same man who brought us the Paradise Lost documentaries about the West Memphis Three. Those films really hit me hard, and made me a long time supporter of the three men who were wrongly convicted. Berlinger captured every bit of emotion there was to capture, and allowed the audience to come to their own conclusions regarding this crime and the three youths that had been convicted of it. Berlinger chose to do the same here, and he states as much on his audio commentary.
In Book of Shadows, he presents everything entirely objectively as he wanted the audience to make their own decisions on what was reality. Unfortunately, there is such a lack of substantive information or theory presented to us on how or why things happened to form any sort of conclusion as to what did truly happen. We have absolutely every reason to believe what these characters swear to as the truth because we’ve spent the whole film witnessing it with them. However, the video tape evidence is shown to fully contradict all of that. One has to be the truth, yet both are equally, undeniably true, and the film ends offering you no reasoning as to why this is. This concept can work if prefaced correctly. A filmmaker has to respect his or her audience by telling a complete story which is cleverly structured and plotted to offer enough intelligent content for answers to be formed from them. There can still be some mystery or ambiguity at the end, as I praised The Usual Suspects for doing, but a film or story needs a point of view for an audience to latch onto so that they can understand where it’s coming from and where it is going.
There is just so much left unanswered it heavily hurts this movie. If the filmmakers had attempted to craft a smart and effective story, things surely would’ve been better. Whether the revelations had been acceptable or not, it’s far better than not trying at all. If you’re going to craft a reality bending, perception twisting film, you need to pay-off these surreal elements at some point. Anyone can throw a series of strange and contradictory images up on a screen, and not explain any of it. It takes talent to make sense of them all, and have them connect in a cohesive and intelligible story. There’s no drama or tension in being left hanging with a question you cannot even guess at an answer for. It’s like a joke without a punch line – it turns into a waste of everything good that was put into it. You build everything up, and then, you just let it hang their at the top of the peak. I could imagine someone like David Lynch doing this film, and while it would inevitably be far more bizarre, it would have the artistic depth and nuance to eventually discern a hypothesis as to the truth.
However, Book of Shadows: Blair Witch 2 is well acted, very well shot, and well directed in certain aspects. It is not a frightening film or a splatter film, it’s a creepy, eerie film. It’s got atmosphere and tone to spare, and the production values and design are quite engaging. I think that’s part of my intrigue for the film. It looks absolutely gorgeous with its distinct autumn colors, and the tall, long afternoon shadows. Autumn is my favorite season, and this film captures the atmosphere and look that I love so much about the season. This deeply permeates through the entire movie. There are numerous chilling moments throughout the film which are greatly executed. Despite its storytelling failings, Book of Shadows delivers on some solid horror content which proves there were some skillful talents involved. There’s a definite psychological element which chillingly surfaces every so often, but since none of it amounts to anything purposeful or substantive, it’s just there for atmospheric effect. The same goes for all the weird ghostly images and strange occurrences. They’re effective in creating a very haunting and surreal experience, but ultimately have no meaning. This film proves that it doesn’t matter how talented you are in creating suspenseful, atmospheric horror if you don’t have a good story to tell. I can give a film more credit for having a great story and script even if the technical aspects aren’t all that good than the reverse.
This was the movie that introduced me to Jeffrey Donovan who I have enjoyed heavily the last few years on Burn Notice. Despite how bizarre the film gets, Donovan still stands out as a strong and interesting lead. He handles all of the unusual demands of the role well, and he makes his character very entertaining while still dark and off-beat. He’s backed up by a cast that is equally as capable even if there’s a lot of poor dialogue to trudge through. This could’ve turned out as a worse film due to the nonsensical layers of strangeness present, but the acting talents involved keep it solidly on-point in terms of tone. There was definitely strong artistic and creative potential here. Unfortunately, studio interference from Artisan Entertainment forced numerous editorial changes to the film that Joe Berlinger was not pleased with. It altered the structure of the film with the various flashbacks and flash-forwards along with some added graphic imagery and the asylum scenes with the Jeff character. Again, Berlinger’s cut was an entirely linear story that might’ve played better, but surely, would have offered no more explanations than the ultimate release version did. Another critic that I know has called the ending to this film “mean.” It’s like a big middle finger to the audience because the film bombards you with all this bizarre imagery and mountain of questions, and it vehemently refuses to answer any of them for you.
I think this is another film that I’ve always liked for its potential. I used to think there was something vastly intriguing about it, despite its confusing flaws. However, I think my fascination with it was based mostly on the visual quality of the film along with the pieces of a potentially very good twisting and mysterious plot. This is a very prime example of a film that was not fully developed or well managed during its scripting or pre-production stages, and then, was mangled up further by a studio that just wanted more blood and shock imagery. Berlinger had the talent for taut suspense and heavy atmosphere creating an exceptionally creepy horror film that a studio simply couldn’t appreciate. I’m sure his director’s cut is probably a more coherent watch to an extent, but it’s still a heavily flawed film from concept to execution. Not even Joe Berlinger’s audio commentary offers a haven for a single answer. The film is presented too objectively, and that’s its real major flaw, too bad it practically overshadows the entire movie. And no, the title’s Book of Shadows appears nowhere in the film, nor is it ever mentioned. It is a Wiccan book containing religious texts and instructions for magical rituals. As I said, the movie is very well made on a technical and tonal level, and the cast is filled with some very fine talents. It had a some good things going for it, but it failed to provide a pay off. Any great mystery requires a great reveal, but no attempt at one is present here.
Warlock is a film I have always enjoyed, but have also always felt a little let down by. It’s a fantasy horror feature that had a great deal of potential with some fantastic performances and a good story behind it, but a low budget really hindered its potential. Directed by Steve Miner (Friday The 13th, Parts 2 & 3), Warlock was produced by the struggling New World Pictures in the late 1980s. It didn’t gain a release in the US until 1991 due to New World’s filing of Chapter 11 bankruptcy soon after the movie was completed. Trimark Pictures gained the rights to the series which have since been absorbed by Lionsgate. Sequels were produced (one with Julian Sands, one with Bruce Payne), and while they had more impressive production values, they both were generally inferior on a screenplay level to the original. Unfortunately, a proper widescreen DVD release has still not been made available by anyone who’s held the rights. However, I have discovered an excellent quality widescreen presentation via FearNet OnDemand. Seeing it only on VHS all these years, I am astounded by its quality, and that is going to factor into my revised review here. Still, I have to hope that this transfer will become available in a new home video release in the high-definition digital era.
The film starts out in Boston, 1691 where Giles Redferne (Richard E. Grant) – a witch hunter – has captured the Warlock (Julian Sands), and is soon to be executed in a most ‘Salem witch trial’ sort of way. Although, the Warlock escapes in a time warp via the forces of Hell. He is transported to the year 1988 (the present) to locate the three parts of the Devil’s Bible which will give him the true name of God, and the power to destroy all of creation. However, Redferne (Richard E. Grant) is able to follow him to the future, only one day too late. The Warlock has a head start on him, and has already placed an extreme aging spell on Kassandra (Lori Singer), the young woman whose home the Warlock crash landed into. So, now it’s up to Redferne to track down his archenemy before he destroys all of creation.
This is an impressively effective supernatural thriller. That is due to several talented individuals putting a lot of skill and time into this. It is a steadily paced picture filled with a good balance of suspense, action, light humor, dramatic moments, and horror elements. Gore only minimally factors into the film. It is the atmosphere and the deliciously evil, sinister performance of Julian Sands that helps land it near the realm of horror. He truly turns the film into gold above its budgetary shortcomings. He is the perfect evil disguised as a man – as the trailer states – “with the face of an angel, and the charm of the Devil.” He is frightening with an amazingly chilling screen presence that pulls you in fully. He can set a foreboding tone without saying a word.
Meanwhile Richard E. Grant delivers a fine performance bringing the pure-hearted, moral charm of the out-of-time and out-of-place Redferne to the surface. Grant makes Redferne a very likeable character as he has a warm heart of gold without becoming sappy. He maybe a bit naive because of him being a stranger in an even stranger land, but he remains dedicated to his purpose and oath to bring an end to the Warlock for all time. Redferne could’ve come off as a rather campy hero, but beyond all the old word speech, the value of Grant’s performance shines through to present an honest, grounded protagonist. Redferne is given a depth and history to give him his avenging motivations for hunting the Warlock to the ends of the world and time. Grant inhabits those qualities with weight and conviction. Redferne is also a worthy adversary as he is knowledgeable and experienced in hunting the Warlock, and is more than capable of not only combating him, but ridding the world of him. Most importantly, Redferne has heart – which is something you don’t usually see in this sort of genre picture. It’s a perfect contrast of good and evil where the performances of Grant and Sands are concerned. One is a passionate man of virtue, and the other is an icy cold villain. When the two occasionally share a scene, it is juicy, meaty content that fuels the momentum of the film. Their final confrontation in the climax is very strong, and allows the characters to feed off of one another, fleshing out their sordid history. It is a powerful and nicely crafted climax indeed.
Unfortunately, there’s nothing special or greatly important about Lori Singer’s character, but in the least, Kassandra is a decently enjoyable guide through the late 20th century for our kind-hearted hero from the 17th century. She does build a nice chemistry with Grant which gives way to some charming humor at appropriate moments.
The few visual and makeup effects present in the film were decent for the time it was made and the budget it was allotted. Still, some of the optical visual effects are severely dated by today’s standards. They may even seem obsolete by the groundbreaking standards of the day (i.e. The Abyss, Predator, A Nightmare On Elm Street 4). This really only applies to the optical composites of the Warlock flying. Although, I doubt the low budget effects will hinder your enjoyment of the film greatly. I have witnessed films, released before and after this one, with tremendously lower quality effects. I did find a nostalgic appreciation for the animated magical fire the Warlock wields. On the practical side, the old age make-up used on Lori Singer while she is hexed by the Warlock was far from being a crowning achievement, but it’s never been a serious detractor for me over all these years.
Steve Miner does as good of a job as ever here despite the film not being high on scares or blood – unlike his work on the first two Friday The 13th sequels. However, Warlock is a worthwhile supernatural thriller, and Miner should be proud of what he was able to create here. He handles the story with respect and care. He provides suspense and tension where need be, and is able to ramp the intensity up at the right moments. The screenwriter for this film was David Twohy (The Fugitive, Pitch Black, The Chronicles of Riddick), and he definitely wrote a fine script that shows a rough, early version of his now well-known style. If Twohy wanted to direct a remake, or a worthy sequel – I’d definitely be privy to seeing it. With a more generous budget and little studio interference, he can churn out a really good film.
Looking at the credits of this film, there are a some notable names that would become horror veterans themselves. Two I noticed were David R. Ellis (director of Final Destination 2 & 4) as stunt coordinator and second unit director, and special make-up effects artist Tom Woodruff, Jr. of Stan Winston Studios and later Amalgamated Dynamics, Inc. (who have become responsible for the creature effects on all the Alien sequels). It’s always interesting to see that such amazing talents worked on a film such as this early on. It gives good context on where they’ve been, and how they’ve advanced their craft over the years.
The cinematography is fairly good. There’s a nice choice of angles and movement, and in select scenes, very moody lighting that enhances the Warlock’s dramatic presence. These elements come together quite well with the visual effects to create a darkly fantastical atmosphere. I don’t know how well it all would work for a modern audience, but since I grew up through this era, I can appreciate it with a nostalgic context.
The one last thing to praise is the late Jerry Goldsmith’s score. I have loved his work for years from his scores for the Star Trek franchise to an endless MASSIVE list of feature films. His score for Warlock had haunting, mysterious elements, and an epic feeling at the film’s climax. This musical master always delivered something memorable and wonderfully cinematic, no matter what the film or genre. It’s a sad thing he is no longer with us. I just hope that his legacy will be carried on by new generations of musical masters.
In the end, it really is the budget that holds down the greatness of this film. It had some solid talent in front of and behind the camera along with a well written screenplay. Not to mention, the title role was perfectly cast with an actor that envelopes the screen, and inhabits every scene with vile charm. Warlock simply did not have the money to boost its production values to a level comparable to the talent involved. It generally does not look cheap, but the dated and low quality visual and make-up effects damage it. But where there are films that falter despite great visual effects and production values, this one soars to respectable heights despite lower grade effects and budgetary limitations. This is due to the quality of talent injected into it, and the solid foundation laid down with David Twohy’s script. It’s full of charm, suspense, mystery, intrigue, and subtle terror. I thank the now defunct Trimark Pictures for picking up this film from the then defunct New World Pictures. I just wish Lionsgate would do something special for this old gem because it honestly deserves it.