‘Witchboard’ Is a Mildly Entertaining Callback to the Highs of 80s Horror

If you’re a fan of 80s horror movies, and more specifically, a fan of films that celebrated their joyously nightmare-inducing practical effects, then you’re quite likely a fan of director Chuck Russell. He followed up his feature debut, 1987’s A Nightmare on Elm Street 3: Dream Warriors, with the remake of The Blob (1988), and both films remain favorites among horror fans even four decades later. He climbed up to the big leagues after that with The Mask (1994) and Eraser (1996) and then fell back down almost as quickly with a few thrillers seen by even fewer people. But now, in the year 2024, Russell has finally returned to the genre that gave him life, and he’s jumping back into that remake well with a new take on another horror favorite from the 80s. Welcome to Chuck Russell’s Witchboard… even if it’s not quite the successful homecoming you’re hoping for.

Emily (Madison Iseman) and her fiancé Christian (Aaron Dominguez) are foraging for mushrooms in the woods outside New Orleans, but instead of some delicious fungi for their imminent restaurant grand opening, they find an old witchboard — think a pre-Ouija board Ouija board — instead. An opening flashback set in 17th century France means viewers already know the trouble it holds, but for the young couple in love it’s merely window dressing for their culinary passion project. It’s not long before the board’s sole occupant, a long-dead witch named Naga Soth (Antonia Desplat) is possessing Emily and orchestrating murderous mayhem on Bourbon Street!

Russell’s Witchboard isn’t a legacy sequel of any kind meaning there’s no direct narrative connection to the 80s film, but his script still carries over some mostly minor nods. The basic gist remains, but this time out we’re subjected to some unnecessary flashbacks that drag the film’s momentum and pad a running time that’s already excessive for the material at just under two hours. As much as I love seeing Russell back in the horror saddle — and it’s clear that a real director helmed this one as opposed to some hack — but hoo boy does it need some trimming. The film absolutely drags between kills, a problem exacerbated by the fact that there are far too few of them until we get to the big finale.

We’re teased something more energetic and fun with the first modern day kill in the restaurant’s kitchen. It’s not quite a Final Destination-worthy setup, but it’s close as various elements come into play forming a chain reaction that ends with this film’s “DJ Qualls” character (Charlie Tahan) having his hand sliced off. It’s a fun bit, one preceded by Naga’s ominous reflections in various metal surfaces, but Russell plays it as a one-off preferring to make his straightforward plot a bit denser with the arrival of a wealthy freak named Alexander Babtiste played by a voracious Jamie Campbell Bower — seriously, the man is “hungry” and eats well in every one of his scenes leaving the rest of the performers in his dust. Between this and Horizon: An American Saga, 2024 is showing his long-term career path as a scene-stealing villain is already locked in.

As entertainingly evil as Babtiste is, though, his storyline feels like an ill-informed tangent in Witchboard. Unnecessary complications make his role somewhat confusing, and as mentioned above, it takes away from more opportunities for witchy shenanigans. The kills we do get use a combination of practical effects and underwhelming CG, but there’s not nearly enough for a two-hour investment. The history of the board, Naga, and Babtiste are the most uninteresting elements at play, but Russell insists on making them a priority for a B-movie that should know better. We get some minor smiles out of it and a handful of laughs, both intentional and otherwise, but viewers jonesing for more 80s-inspired antics are left cold until the third act finale — that comes before the film’s fourth act finale.

Witchboard is an okay romp, a slightly better one if Russell makes some judicious cuts before its eventual release, but it can’t touch the original or even come close to the highs of his own 80s classics. That’s fine, not everything needs to be the best, and if opens the door wider for Russell’s horror renaissance to continue? Well, that’s the kind of magic we can all get behind.

The 28th edition of the Fantasia International Film Festival runs July 18th to August 4th in beautiful Montreal, Quebec. Follow along with our coverage here.