‘Witchboard’ Is A Wicked-Fun Horror Throwback [Fantasia 2024 Review]

True heads will know director Chuck Russell’s name from directing some of the most important works of genre cinema ever laid to celluloid: A Nightmare on Elm Street 3: Dream Warriors, The Blob (1989), and Jim Carrey’s superstar breakthrough freak show The Mask, to name a few. Yet this icon of practical effects, ghastly gore, and rollercoaster thrills has been notably absent from horror cinema for over two decades, instead crafting high-octane thrillers with sky-high budgets. At last, this master returns to a genre that needs him now more than ever with Witchboard, a loose remake of the 1986 b-movie of the same name. 

An outrageous powder keg from the word go, this is an absolute treat for fans of late 90s horror-thrillers like Wishmaster and The Relic or even Hellraiser: Bloodline. With a somewhat inconsequential plot featuring a group of attractive youth forced to battle a collective of ancient evils intent on possession, ruining the opening of their fledging New Orleans restaurant, and unleashing unholy havoc on planet Earth (same), Witchboard is a celebration of handmade horror in it’s most authentic form. The charismatic, newly engaged couple Christian (Aaron Dominguez) and Emily (Madison Iseman of Annabelle Comes Home) lead the charge, battling evil witches, worse Puritans, and a slew of sassy stray cats from the mean streets of New Orleans’s French Quarter.   

In classic Chuck Russell fashion, the visuals in Witchboard are way above its pay grade. For a 2024 indie horror release, it miraculously manages the look and feel of a seven-figure Final Destination sequel. And to make it better, whenever possible, Russell relies heavily on practical effects, giving the movie the feel of the big-budget 90s splatterfest audiences have been craving. Like his bizarre Mask protagonist, Russell has a way of stretching resources to unimaginable limits. When I asked the director how he does it at its Fantasia Festival world premiere, he admitted that his trick is ensuring that as much of his budget appears on the screen as possible. 

The film’s use of Jamie Campbell Bower (Stranger Things) as Alexandre Baptiste is fantastically high-camp. Bower plays an outrageously queer-coded vampire-Lestate archetype and is so fully committed to the villainous role that it might even make you laugh unintentionally. With that said, Bower is a complete joy to behold in the role, and like the expert he is, Russell ensures to never over-use the character, enabling him to have an heir of The-Marquis de Sade-on-Adderall in all the right ways. Bower’s subplot is like something out of Dark Shadows, and his accompanying musical stings help make his B-story camp at its absolute finest. 

Yet still, the MVP of this talented cast is likely Dominguez as Christian, the rare genre Final Boy who plays the group’s leader with a mix of heroism and vulnerability, giving the character a particular loveable factor rarely allowed to men in traditional horror outings like this one. He also has genuine star power and is committed to the game, no matter how silly it gets.

An underrated scream queen with valuable turns in Annabelle Comes Home, Dread’s Tales of Halloween, and Amazon’s I Know What You Did Last Summer series, Madison Iseman also elevates the somewhat less groundbreaking material written for her. Without forgetting the scene-stealing Charlie Tahan of Ozark fame, this young cast never feels like a lost CW ensemble and only gives the movie a sense of YA excitement when best suited to the project. 

Don’t get me wrong, Russell’s remake is a mean-spirited (heh) and grotesque assault on the senses, yet it’s still evocative of excellent 90s YA thrill rides like Jumanji or Hocus Pocus. It’s an inexplicably nostalgic trip into a blood-splattered childhood wonder that should make elder millennial genre fans joyful. Possibly due to its outdated 90s tone or maybe its use of practical effects … whatever the reason, it’s resulted in a cocktail of unserious throwback genre mayhem that is well-needed in a year of attempted genre prestige and lackluster major horror releases. 

While A24/Neon horror bros may bristle at the unserious tone summoned up by Witchboard, unpretentious horror fans will surely be quick to appreciate its perfect blend of silliness, brutality, and thrills. Although its plot unravels a smidge in the final act, and its runtime is about 20 minutes longer than I would’ve recommended, these few blemishes somehow only add to the film’s overall charm and commitment to the bit. This a fully realized vision from a true master of his craft, and I’m grateful to have witnessed this example of unpretentious horror moviemaking when I was craving it so badly. 

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