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Page A—26 — Shelton-Mason Journal - Thursday, Oct. 8, 2020
Craft: Sequel arrives Oct. 28, original remains spooky
continued from page A-25
yes, witches, before the decade
was capped off with the re-
lease of the pseudo-documen-
tary “The Blair Witch Project”
in 1999.
“The Craft” centers on four
misfit high school girls who
experiment with witchcraft,
but what stands out in ret-
rospect is how effectively it
serves as a time capsule of
films targeted toward teens
and twentysomethings in the
19905.
This ’905 branding runs
deep, right down to the Love
Spit Love cover of The Smiths’
“How Soon Is Now?” that was
commissioned for “The Craft,”
but wound up becoming the
title theme for the WB TV
series “Charmed” (also about
witches) in 1998.
The cast for “The Craft”
likewise reads like a roundup
of stars who were either in
their prime or about to hit it
big, with the racist blond bully
played by Christine Taylor,
who played Marcia Brady in
the two “Brady Bunch” films
released in 1995 and 1996,
and the sexually predatory
jock played by Skeet Ulrich,
who would go on to costar in
“Scream” in 1996 with Neve
Campbell, who also appeared
in “The Craft.”
Before she was cast in “The
Craft,” Campbell had already ,
landed a lead role in the popu-
lar Fox TV drama “Party of
“We’re the weirdos, mister.” The cast of 1996’s “The Craftf’
get ready to make some movie
magic. Courtesy photo
Five” in 1994, just as Robin
Tunney, the girl who becomes
the fourth member of the co—
ven when she moves to their
school, had already drawn
notice as part of the lively
ensemble cast of the coming-
of-age dramedy “Empire Re-
cords” in 1995.
“The Craft” would also
precede 1999’s “J awbreaker”
in emulating 1989’s dark teen
film “Heathers,” by depicting
a vulnerable high school girl
gaining power by becoming
the fourth member of a ruth-
less clique, even as her strife
with them leads to a mounting
death toll.
Just as “Heathers” boasted
the rising star power of Wi-
nona Ryder, so too did “The
Craft” feed off the feud be-
tween the characters played
by Tunney and fellow actress
Fairuza Balk. ,
What saves “The Craft”
from turning into a ’90s up-
date of a Jack Chick religious
tract is that we retain sym-
pathy for all four girls in the
coven, even as they wield their
newfound power as witches
recklessly.
Bonnie (Campbell) simply
wants the disfiguring scars
that cover so much of her body
to go away, while Rochelle
(Rachel True) is tired of Laura
(Taylor) persecuting her for
being one of the few black
girls at their school.
As for Sarah (Tunney) and
Nancy (Balk), theire given
the most multifaceted per-
sonal problems, with Sarah,
whose mother died giving
birth to her, having previ-
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ously attempted suicide,
before Chris (Ulrich) spreads
false rumors about her sup-
posed promiscuity at her'new
school, while Nancy is stuck
in a falling-apart trailer home
with a white-trash mother
(Helen Shaver) and a sleazy
stepfather (John Kapel'os, aka
Carl the janitor from “The
Breakfast Club”) who gets a
little too handsy with her.
With her clear aquamarine
eyes and unnervineg even
tone of voice, Tunney has the
perfect look and affect to play
a girl who’s so shellshocked
by trauma that she can’t even
manage to raise her voice
when she wants to scream in
horror. .
Which makes Balk an ideal
counterpoint for Tunney. Nan-
cy starts out as the queen bee
of the coven, and she never
fully warms to Sarah stepping
in as the new “sister” to their
circle. Balk makes Nancy’s
inner damage outwardly
visible with her intense tur-
quoise stare (“Fairuza,” her
first name, is Persian for tur-
quoise), her raw voice and her
sharklike grin.
' While all four lead ac-
tresses in “The Craft” make
their characters work, Balk’s
Nancy is on an entirely dif-
ferent dimensional plane. She
commands every scene she
appears in, and she manages
to be terrifying in her furious
rants and her broken-glass
tinkling laughter.
Few modern horror movie
moments can measure up to
the fear Balk’s Nancy gener-
ates by screaming, “OH, HE’S
SORRY, HE’S SORRY!” or ,~ ‘
by giddin giggling, “I’m your
daughter now.”
Yes, this film’s computer-
generated special effects clear-
ly show their age, and even
when it was released, self-pro-
, claimed real-life witches had
no shortage of criticisms for
its portrayal of their craft.
But if you’re looking for a
genuinely gripping teen dra—
ma that earns its jump-scares,
“The Craft” is worthy of inclu—
sion in any list of Halloween
perennials, especially given
the haunting final confronta-
tion that scored Balk and Tun-
ney that year’s MTV Movie
Award for Best Fight.
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