Any time ALICE KRIGE appears in a horror movie it is an occasion for rejoicing. She’s one of the greatest character actresses who ever lived plus she’s got a near LON CHANEY-esque talent for meshing with monstrous roles. The KRIGE was all kinds of mesmerizing in GHOST STORY (‘81), seriously sinister in SLEEPWALKERS (‘92), ten tons of threatening in STAR TREK: FIRST CONTACT (‘96) and magnificently mortifying in SILENT HILL (‘06). In GRETEL AND HANSEL, she takes on the role of Holda, a haggy archetypal fairy tale witch with cannibalistic tendencies and it’s her most gleefully despicable creation yet (if you don’t count Tully, the literary agent she portrayed in BARFLY (‘86)). Director OSGOOD PERKINS appears to fully appreciate winning the lottery in the casting department and wisely allows KRIGE to fully KRIGE and the uncanny end result is like an inevitable monument foretold in the stars. The fact that KRIDGE spends most of her time here psychologically sparring with the formidable aptness of SOPHIA LILLIS (IT: CHAPTERS 1 &2) as the titular Gretel is even more to be thankful for. GRETEL AND HANSEL is a smidge tottery at times and I can’t help craving it had a more robust right hook but I sense it accomplishes everything it sets out to do refreshingly unconcerned with audience expectations.
GRETEL AND HANSEL is much more like a trip to the art gallery than the amusement park (I might even say it’s more of a spell/hex than a film/movie) so if you prefer the latter you may want to skip it altogether. I found myself in a kind of hog heaven of sorts but must admit that the candle-lit cabin coziness of everything made me momentarily drowsy at times (that’s less of a complaint than it sounds). This movie is undeniably stunning on a visual level, absolutely gorgeous; a shoebox diorama filled with perfectly lit construction paper silhouettes. It’s like GUY MADDIN (CAREFUL (‘92)) playing WIN LOSE OR DRAW with ALEXANDRO JODOROWSKY (HOLY MOUNTAIN (‘73)) and the answer he’s trying to illustrate is ROB ZOMBIE’s LORDS OF SALEM. It’s as if THE WITCH (2015) and EYES OF FIRE (‘83) played hooky from school and did mushrooms while swinging in hammocks listening to THE COCTEAU TWINS. I can’t say no to this sort of thing! The soundtrack is by ROB, the same dude who did MANIAC (2012) for crying out loud! I’m starting to believe watching a movie is a lot like being hypnotized and we’re all susceptible to wildly different triggers and cues. This jaunt tugged all the correct occult harp strings in my spine and I tip my triangular Aleister Crowley cap to it. Maybe for its own sake, it should have thrown the audience a bone in the form of a more explosive climax but I guess that would have been against its very nature. As it stands, it’s a singular dark visual poem that sure to become a totem among the esoteric. Sure the story is sort of like a trail of breadcrumbs left for the birds but this crazy catalog of cursed eye-candy left me convinced that one truly arresting image may be worth more than some entire franchises.