Roald Dahl’s The Witches

In late 1967, a young orphaned boy goes to live with his loving grandma in the rural Alabama town of Demopolis. As the boy and his grandmother encounter some deceptively glamorous but thoroughly diabolical witches, she wisely whisks him away to a seaside resort. Regrettably, they arrive at precisely the same time that the world’s Grand High Witch has gathered.
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Credits: TheMovieDb.

Film Cast:

  • Grand High Witch: Anne Hathaway
  • Grandma: Octavia Spencer
  • Mr Stringer: Stanley Tucci
  • Hero Boy: Jahzir Bruno
  • Older Hero (voice): Chris Rock
  • Bruno Jenkins: Codie-Lei Eastick
  • Daisy / Mary (voice): Kristin Chenoweth
  • Reginald: Brian Bovell
  • Mr Jenkins: Charles Edwards
  • Mrs Jenkins: Morgana Robinson
  • Zelda: Josette Simon
  • Consuella: Eugenia Caruso
  • Esmerelda: Ana Maria Maskell
  • Saoirse: Orla O’Rourke
  • Lana: Penny Lisle
  • Sous Chef: Simon Manyonda
  • Esmeralda: Amber Flanagan
  • Raymond: Jonathan Livingstone
  • Chef: Philippe Spall
  • Samantha: Eurydice El-Etr
  • Witch: Katie Hardwick
  • Witch: Abi Adeyemi
  • Danny Wests (uncredited): Zeke Taylor
  • Maitre’D – Luther: Paul Leonard
  • Officer Perry: Jon Prophet
  • Young Grandma: Miranda Sarfo Peprah
  • Waiter: Angus Wright
  • Basketball Kid: Joseph Zinyemba
  • Chambermaid: Me’sha Bryan
  • Witch: Anastasia Zabarchuk
  • Bellman: Ken Nwosu
  • Alice’s Mum: Vivienne Acheampong
  • Alice’s Dad: Sobowale Antonio Bamgbose
  • Grandma’s Mother: Lunga Skosana
  • Jesup: Dempsey Bovell
  • Chief Doorman: Cyril Nri

Film Crew:

  • Original Music Composer: Alan Silvestri
  • Producer: Robert Zemeckis
  • Director of Photography: Don Burgess
  • Costume Designer: Joanna Johnston
  • Novel: Roald Dahl
  • Casting: Victoria Burrows
  • Foley Artist: Jana Vance
  • Producer: Alfonso Cuarón
  • Stunt Coordinator: Eunice Huthart
  • Music Editor: Jeff Carson
  • Casting: Nina Gold
  • Producer: Guillermo del Toro
  • Hair Supervisor: Nikita Rae
  • Producer: Jack Rapke
  • Editor: Jeremiah O’Driscoll
  • Sound Re-Recording Mixer: Randy Thom
  • Makeup Designer: Peter Swords King
  • Executive Producer: Michael Siegel
  • Casting: Scot Boland
  • Sound Mixer: William B. Kaplan
  • ADR Mixer: Charleen Richards
  • First Assistant “A” Camera: Julian Bucknall
  • Second Unit First Assistant Director: Mark Hopkins
  • Scenic Artist: Rohan Harris
  • Executive Producer: Jacqueline Levine
  • Special Effects Supervisor: Mark Holt
  • Music Editor: Alice Wood
  • VFX Editor: Michael Gilbert
  • Costume Supervisor: Charlotte Finlay
  • First Assistant Director: Lee Grumett
  • Production Design: Gary Freeman
  • Art Direction: Sue Whitaker
  • Supervising Sound Editor: Bjorn Ole Schroeder
  • ADR Mixer: Nick Roberts
  • ADR Editor: Matthew Hartman
  • Visual Effects Supervisor: Kevin Baillie
  • Visual Effects Editor: Derrick Mitchell
  • Sound Re-Recording Mixer: Kevin O’Connell
  • Script Supervisor: Lizzie Pritchard
  • Supervising Art Director: Tom Still
  • Sound Designer: Jeremy Bowker
  • Steadicam Operator: Vince McGahon
  • Set Decorating Coordinator: Francesca Birri
  • Unit Publicist: Stacy Mann
  • Sound Mix Technician: Jeff King
  • Screenplay: Kenya Barris
  • ADR Mixer: Adam Sharpe
  • Camera Operator: Des Whelan
  • Scenic Artist: Cosmo Sarson
  • Makeup Designer: Paula Price
  • Sound Effects Editor: Luke Dunn Gielmuda
  • Sound Re-Recording Mixer: Dennis S. Sands
  • Prosthetic Designer: Kristyan Mallett
  • Head of Animation: Marc Chu
  • Key Makeup Artist: Rose Crocker
  • Set Decoration: Raffaella Giovannetti
  • Sound Re-Recording Mixer: Leff Lefferts
  • Makeup & Hair: Sarah Grispo
  • Visual Effects Supervisor: Tim Ledbury
  • Animation Supervisor: Nicholas Tripodi
  • Dialect Coach: Roisin Carty
  • Storyboard Artist: Simeon Wilkins
  • Camera Operator: Andrew Banwell
  • CG Supervisor: Nathan Ortiz
  • Sound Mix Technician: Mark Purcell
  • Foley Editor: Chris Manning
  • Art Department Coordinator: Tamara Catlin-Birch
  • Art Direction: Claire Fleming
  • Key Grip: John Flemming
  • Construction Manager: Dominic Ackland-Snow
  • Executive Producer: Marianne Jenkins
  • Principal Costumer: Emma Heath
  • Key Hairdresser: Tracy Smith
  • Foley Artist: Ronni Brown
  • Visual Effects Editor: Tom Balogh
  • Prosthetic Makeup Artist: Jane McBennett
  • Gaffer: Martin Smith
  • Best Boy Electric: Lee Eldred
  • ADR Mixer: Simon Diggins
  • Sound Mix Technician: Danielle Dupre
  • Visual Effects Supervisor: Gong Myung Lee
  • Scenic Artist: Tina Charad
  • Conceptual Design: Daniel Hyun Lim
  • Animation Supervisor: Jye Skinn
  • Visual Effects Editor: Rachel Litz
  • Digital Compositor: Diana Moneva
  • Principal Costumer: Perry Goyen
  • CG Supervisor: Avi Goodman
  • Matchmove Supervisor: Jin Yong Kim
  • Executive Producer: Cate Adams
  • Editor: Ryan Chan
  • Set Designer: Lara Genovese
  • Assistant Art Director: Laura Miller
  • Visual Effects Producer: Sandra Scott
  • Casting Associate: Lucy Amos
  • Script Supervisor: Giulia Patanè
  • Assistant Editor: Robert Sealey
  • Assistant Costume Designer: Samantha Keeble
  • Lighting Technician: Stephen Catney
  • Assistant Set Decoration: Yasmin Al-Naib
  • Assistant Editor: Christi Leftwich
  • Visual Effects Coordinator: Dominique Fernet
  • Hairstylist: Shannon Bakeman
  • ADR Mixer: Eric Gotthelf
  • Makeup & Hair: Lois McIntosh
  • Set Dresser: Laura Collins
  • ADR Mixer: Thomas J. O’Connell
  • Hair Department Head: J.C. Davis
  • Visual Effects Production Manager: Emily C. Moye
  • Special Effects Coordinator: Lucy Thompson
  • Visual Effects Supervisor: Yoshi DeHerrera
  • Lighting Artist: Vijay Bundela
  • Lead Animator: Melanie Plett
  • Principal Costumer: Lucilla Simbari
  • Second Assistant “C” Camera: Ben Gadsden
  • Visual Effects Producer: Vikki Chapman
  • ADR Mixer: Bobby Johanson
  • Stunts: Tolga Kenan
  • 2D Supervisor: Agueda Del Castillo
  • First Assistant “B” Camera: Max Glickman
  • Compositing Supervisor: Aurore de Blois
  • Supervising Carpenter: Lee Biggs
  • Libra Head Technician: Mario Spanna
  • Concept Artist: Po Sing Chu
  • Makeup & Hair: John Fallows
  • Special Effects Technician: Adrian Bennett
  • First Assistant “C” Camera: David Pearce
  • Visual Effects Coordinator: Abhijitsinh Gohil
  • First Assistant Editor: Jesse Goldsmith
  • Digital Compositor: Lyne Lepage
  • Digital Compositor: Zofie Olsson
  • Digital Compositor: Viviane Lévesque Bouchard
  • Costume Assistant: Alex Grace
  • Production Coordinator: Hephzibah Craen
  • Standby Art Director: Richard Usher
  • Set Dresser: Manuel Vilaseca Vaya
  • Digital Compositor: Sarah Downey
  • Painter: Phil Hawley
  • Second Assistant “C” Camera: Toby McKay
  • Second Assistant “A” Camera: Alex Collings
  • Production Controller: Gina Hallas
  • Assistant Property Master: Mark Kimber
  • Stand In: Georgie Carter
  • Producer: Luke Kelly
  • Digital Imaging Technician: Ben Appleton
  • Animation Technical Director: James Hollingworth
  • Matchmove Supervisor: Julian Gregory
  • Digital Compositor: Björn Gromoll
  • Dialect Coach: Joan Washington
  • Set Dresser: Joe Birdsey
  • Makeup & Hair: Sophie Rowatt
  • Art Department Assistant: Lara Humphreys
  • Draughtsman: Claire Peerless
  • Animation Technical Director: Bridgette Perrers
  • Compositing Supervisor: Dominic Hellier
  • Lighting Supervisor: Drew Wood-Davies
  • Visual Effects Supervisor: Glenn Melenhorst
  • Visual Effects Production Assistant: Laura Bonde Pedersen
  • Visual Effects Coordinator: Zach Groves
  • First Assistant Director: Jason Inman
  • Visual Effects Coordinator: Erin Anderson
  • Visual Effects Production Assistant: Tomas Battersby
  • Greensman: Tyrone Isaacs
  • Production Manager: Samar Pollitt
  • Production Assistant: Samantha Choat
  • Senior Animator: Goran Ognjanovic
  • Prosthetic Makeup Artist: Marina Altomare
  • Casting Associate: Byron Beane
  • Executive Producer: Gideon Simeloff
  • Electrician: Steven Skinner
  • Visual Effects Production Manager: Neil Van Dijk
  • Special Effects Technician: Tim Niverth
  • Special Effects Technician: Peter Treece
  • Makeup & Hair: Magdalena Janusinska-Surma
  • Makeup & Hair: Jeanette Brown
  • Makeup Artist: Valerie Noble
  • Prosthetic Makeup Artist: Aurora Beadle
  • Lighting Technician: Joe Chapman
  • Lighting Technician: Alfie Rowland
  • Rigging Gaffer: Greg Thomas
  • Second Assistant “B” Camera: Chris King
  • Art Department Assistant: Sarah Smith
  • Art Department Coordinator: Clare Griffiths
  • Art Department Coordinator: Jules Wicks
  • Assistant Set Decoration: Camila Higgs
  • Concept Artist: Jamie O’Hara
  • Construction Buyer: John Whitby
  • Draughtsman: Jon Ziman-Bright
  • Graphic Designer: Sarah Jeanne Perry
  • Graphic Designer: Liberty Thompson
  • Props: Noel Godfrey
  • Scenic Artist: Sami Fendall
  • Storyboard Artist: Bill Thompson
  • Ager/Dyer: Maria D’Agostino
  • Costume Coordinator: Zoé Le Moullec
  • Costume Mistress: Alice Buckingham
  • Set Costumer: Cristy Watson
  • Tailor: Abigail Best
  • Textile Artist: Amy Clark
  • Wardrobe Master: Aaron Timperley
  • Extras Casting: Matthew Janion
  • 3D Generalist: Rousselot de Saint Ceran Tristan
  • Animation Technical Director: Frascella Roberto
  • CG Supervisor: Amir Wahid Eleswy
  • Compositing Artist: Marc Schoenbeck
  • Digital Compositor: Chiara Costantino
  • Digital Compositor: Gayanath Dayasundara
  • Digital Compositor: Maxime Dontigny
  • Digital Compositor: Shailey Horton
  • Digital Compositor: Sean Lyndon Martin
  • Key Animation: Rafael Albuquerque
  • Lead Animator: Brad Kvist
  • Lead Animator: Philip Negroski
  • Lighting Artist: Chris Palmer
  • Lighting Artist: Alan Rosenfeld
  • Lighting Artist: Andrew Dunkerley
  • Lighting Artist: Noelia Ruiz Rubio
  • Modeling: Crystal Bretz
  • Senior Animator: Rick Glenn
  • Senior Animator: Yves Ruprecht
  • Senior Animator: Aram Lakhotia
  • Senior Animator: Mandlekar Sagar
  • Senior Modeller: Andrei Korovkin
  • Visual Effects Coordinator: Saikat Dutta
  • Visual Effects Coordinator: Anne-Valerie Kenol
  • Visual Effects Coordinator: Amy Madigan
  • Visual Effects Coordinator: Maxime Masson
  • Visual Effects Coordinator: Zoe Medcraft
  • Visual Effects Coordinator: Marisa Perkins
  • Visual Effects Editor: Nour Halouani
  • Visual Effects Production Assistant: Jérémie Jutras
  • Visual Effects Production Assistant: James Lee
  • Visual Effects Production Manager: Francesca Mancini
  • Visual Effects Supervisor: Christian Emond
  • Visual Effects Supervisor: Yael Majors
  • Foley Mixer: Jason Butler
  • First Assistant Accountant: Jordan Brown
  • Production Accountant: Rachel Donkor
  • Production Assistant: Harvey Diack
  • Production Assistant: Fateh Khaled
  • Production Coordinator: Jussilinho Ángel Castro
  • Production Secretary: Shyam Bansropun
  • Production Secretary: Ethan Modder

Movie Reviews:

  • TinyLilRobot: A lot was changed in this remake and I thought it would irk me. After about twenty minutes I thought I had been wrong, the opening had some originality and it seemed like something fresh. then they arrived at the Hotel and Anne Hathaway came on the scene like a wrecking ball. Any potential that this movie had was suffocated by Hathaways incredibly poor performance. Watch Anjelica Huston’s performance in the original and you will see the MASSIVE difference in ability. Hathaway’s performance is akin to an amateur impressionist. It feel more like an insult than an homage by Hathaway, she put zero effort or spirit into this character. Her accent is atrocious and her presence is almost nonexistent. Also the CGI already looks cheap, c’mon they had better puppets in the 80’s. All witches now have joker smiles and shark teeth? This could’ve really been a good movie and it is just marred by an extremely poor performance from the lead villain, an overuse of cheap effects, poor pacing, lack of originality in the second half and a horrendous ending. The only highlights of this movie are Octavia Spencer and Jahzir Bruno who do a fantastic job of filling and updating their roles. Unfortunately as most fans know, Jahzir spends the second half of the movie as a poorly CGI’d mouse. Leaving Octavia Spencer to carry the entirety of the movie from there on out almost seems like a cruel prank. Tucci is decent as is Codie Eastwick as Bruno but there characters are so poorly written and used they practically add nothing. The addition of a third mouse is also meaningless and changes nothing in the story. Ultimately this movie is a far worse version of the first one. They actually managed to tell less of the story, give characters less development, and have worse effects than a movie made over 30 years ago. Some of this may have been forgivable if they added any decent original concepts but again this is a poor retread with no added substance. Its disheartening to see so many big names attached to this film. Guillermo Del Toro should not put this on his IMBD page. Of course your children will like it, they like Peppa Pig.
  • SWITCH.: When you hear the names Robert Zemeckis, Guillermo del Toro and Alfonso Cuaron, you expect something visually engaging. These three names paired with Dahl’s work could have been something really special, but this is just another bland adaption. The more you compare it to both the source material and previous adaptions, it comes across as bland and missing the mark. The same could be said about the star-studded cast led by Hathaway and Octavia Spencer, with Stanley Tucci playing the forgettable hotel owner. This team really could have made something unique, but this is not it, witch.
    – Chris dos Santos

    Read Chris’ full article…
    https://www.maketheswitch.com.au/article/review-the-witches-horrifying-for-all-the-wrong-reasons

  • MihaiADobre: Is a good movie for family. The end is unexpected and Anne Hatheway is always a good choice in distribution.
  • Per Gunnar Jonsson: Unlike what a lot of people seems to think about this movie I though it was a fairly decent family movie. It’s not great but decent enough. I quite enjoyed it at least.

    The story is what it is. It is a Roald Dahl story so it is somewhat dark but funny and with some light at the same time. Of course there are a bunch of whiners complaining that it is too dark and not suited for children. Well, everyone knows (or should now) what to expect from a Roald Dahl story so just go and see another movie then. My kids, even when they where younger, would have no problem with this movie. But then I would spend the time to watch it with them. It is called parenting.

    The beginning felt a wee bit slow perhaps but once the grand witch, and in particular the three mice, entered the scene it became rather funny.

    The one thing I did not like that much was the over the top silly acting of the witches, especially the grand witch. They could really have toned down that it bit to make her a bit more scary. Now she just became silly and somewhat annoying.

    The special effects were quite nice. The mice was a bit cartoonish but that was okay for this movie. I quite liked how the grand witch’s mouth split open from time to time to reveal her “witchiness”.

    Apparently a bunch of disability advocates, including British Paralympic swimmer Amy Marren, got unhinged and claimed the movie was “perpetuating bias against individuals with ectrodactyly and other limb differences.”

    Seriously? Get a grip. It is fiction and a family movie about witches for Christ sake! Presenting witches or other supernatural creatures as having “abnormalities” like crows feet, fangs and God knows what is what makes witches. If these obsessive whiners and cancel culture freaks would have their way no movie worth watching and no book worth reading would ever be made.

    Anyway, I felt it was an hour and 45 minutes that I enjoyed.

  • misubisu: A thoroughly entertaining movie… way better than I was expecting after reading the reviews.
    I loved Ann Hathaway’s portrayal of the Grand High Witch. She really threw herself into the role.

    Not really a kids movie, as it’s a little dark… but definitely a good watch!

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