'The Witch' continues horror genre's winning streak

Anya-Taylor Joy in The Witch

Roughly this time last year, It Follows, one of my favorite horror films of the decade was released. It was a critical darling that stood the test of time and stayed on my top 10 list for the next twelve months. It wasn't a traditional shocker, it avoided easy jump scares, was devoid of gore and it had a visual aesthetic of its own.

This month, we have the arrival of The Witch, a terrifically spooky film that doesn't top It Follows but is similarly atmospheric and effecting. It plays for much of its running time like a drama. It focuses on a Puritan era family, led by a devoutly religious father, whose rebellious approach to religion gets him, his wife and children banished to the wilderness.

The family is played by a cast of largely unknown actors, although the mother, Kate Dickie, may be recognizable to fans of Game of Thrones. The patriarch (Ralph Ineson) has one of the greatest voices I've ever heard -- a deep, intense growl. He would make an amazing villain in a Bond film. But the real standout is the eldest daughter (Anya-Taylor Joy) who resembles a younger Margot Robbie. She is the put upon, under-appreciated child and her arc is the film's most shocking.

Still, the movie takes its time getting to the scares. This is not a bad thing. The best horror films -- think The Exorcist and The Shining -- take their time to create a world, give you a stake in the characters and then add layers of existential dread.

The Witch is beautifully photographed, and not unlike other eerie fables such as Under the Skin, its early scares are all in the silences and strange lingering images. That, and the score, with builds to an almost unbearable pitch of terror.

As the last act unfolds, the movie takes some surreal turns that I am still not sure I entirely understand, but they are nevertheless striking. Although the movie itself isn't necessarily going to make you scream with fear, it has a creepy power.

I'm happy to see it getting such strong reviews, but I fear that its commercial prospects are limited. Not unlike It Follows it's languid pacing and lack of stars seem to have resulted in a tepid box office. The same thing goes for my other favorite recent horror films, Goodnight Mommy and The Badadook. Although audiences clearly have an appetite for horror, these kinds of smart, thoughtful films more often than not don't crossover with mainstream audiences, who seem to gravitate toward dumber fare.

Of the best reviewed recent horror films, only The Conjuring, which also avoided gore for genuine thrills, has been a big hit. And that film boasted more recognizable actors (Patrick Wilson and Vera Farmiga) and a more accessible haunted house premise.

The Witch will not be for all tastes. It's more moody and brooding, and its setting can be claustrophobic and bleak. But this is the kind of movie that sticks in your head; its imagery and its mysteriousness are timeless. And its director, Robert Eggers, who makes his debut with this picture, is one to watch.