From iconic genre filmmaker Chuck Russell (A Nightmare on Elm Street 3: Dream Warriors) comes a remake that VHS-lovers alone will probably recognize by name: Witchboard. If ever there was a series more fit to be reimagined, it would probably be this one. Characterized by their cheesy covers and ouija-board hijinks, this unexpected three-movie franchise began in the late 80s, and toyed with a pretty simple premise. In the original, a group of friends use a board to communicate with a spirit, unknowingly sending a vengeful ghost to possess one of their bodies. This reboot amps up the premise considerably with a bit of a time-shifting, body-hopping twist. There’s still a possession and a titular “witchboard,” though not one of the Ouija variety. But there are many surprises at hand that enhance the concept in a unique way. Witchboard revives a dead property by exhuming the corpse of its 80s remains in this stylish, obscenely entertaining ode to VHS-era simplicity.
Alternating between 1693 AD France and modern day New Orleans, Witchboard opens with a taste of both. First, we see a coven of witches chanting around a campfire, as a slaughter occurs and the titular witchboard is left behind. Flashing forward to present day, two thieves snatch the artifact from the New Orleans Museum of Natural History, unknowingly setting into motion a cursed plot. Emily (Madison Iseman, Annabelle Comes Home, Goosebumps 2: Haunted Halloween) and Christian (Aaron Dominguez, The Inspection, Words on Bathroom Walls), a couple renovating a Creole restaurant, end up in possession of the mysterious “pendulum board,” an ancient precursor to the modern Ouija board.
Soon enough, Emily’s obsession with the board spells trouble as their Creole Kings Cafe grand opening looms. Emily’s nightmares begin bleeding into her day to day, and she starts having lapses in memory to go along with them. Strange Final Destination-style deaths plagued by a cute cat and eyebrow-raising convenience play out one after the next. Emily seems less than perturbed by these events. Christian, noting Emily’s behavior, turns to his ex-girlfriend, Brooke (Melanie Jarnson, Mortal Kombat, Blacklight), for guidance. She just so happens to know an antiquities expert, Alex (Jamie Campbell Bower, The Twilight Saga: New Moon, Stranger Things), with a particular interest in the missing object…
The pendulum board itself, peppered with eerie pictograms, is properly creepy, and distinct enough from a modern Ouija that it sticks out from the crowd. Apart from the board, there are essentially two big bads here. One is Alex, not quite putting Campbell Bower in Vecna mode, but instead allowing him to be more of a traditional warlock with a sinister agenda. The second is a powerful witch exiled centuries ago, whose restless spirit begs for a return through Emily. Both villains are distinct enough not to blend together, and that aforementioned time-shifting twist to the proceedings make the witch an even more awful force to reckon with. As far the kills are concerned, there are plenty of gory dismemberments to go around, including a restaurant setpiece that almost feels like more of a finale that the actual finale. A gnarly moment with a meat slicer becomes the best orchestrated burst of shock value in the runtime.
With its strong atmosphere and setting, Witchboard plays on the mystical elements of New Orleans, and dabbles lightly in witchcraft history. It never tries to be clever or meta in its approach to horrors, but it thankfully never takes itself too seriously, either. Instead, we have an inventive movie that uses its dual timelines creatively. There are a couple issues here, mainly in a lack of compelling characters. In fact, one could argue that Christian receives significantly more development than Emily, perhaps due to her actual personality being sidelined by the witchy magic. The third act also feels a bit rushed given that the rest so carefully builds on its creepy tone.
Still, Witchboard brought me back to a much simpler time when straight-to-video movies could just be a bit of flashy escapism and nothing more. Russell has worked in the world of practical effects many times over—see: The Blob and Dream Warriors for just a couple examples—and his film does manage to channel the entertaining nature of his past works for the better. Many CGI elements do not look as good as they probably should, particularly anytime flames are utilized, but the campy charms are still part of the complete package. If this generation’s take on Witchboard just becomes a slumber party hit to giggle at with friends, it should be seen as a job well done.
Pull out the Witchboard and commune with the spirits, exclusively in theaters on Friday, August 15th.
