In looking to update the basic concept of 1996’s The Craft, actor-turned-writer-director Zoe Lister-Jones looks to invoke the same spirit, but only infrequently channels the power. The essentials remain: like Robin Tunney’s Sarah, Cailee Spaeny’s Lily is forced to adapt to a change in life circumstances and ends up bonding with a coven of witches after a rough first day at her new school (marked in Lily’s case by menstruation and mockery). It’s all Wicca fun until their dabbling in the dark arts — well, more dusk arts, since they rarely dive into truly dangerous territory — results in changes both positive and negative.
From the get-go, Lister-Jones builds an eclectic clique; Spaeny’s wide-eyed lead is an empathetic way into this witchy world, while Gideon Adlon’s chatty Frankie, Lovie Simone’s thoughtful Tabby and Zoey Luna’s vibrant Lourdes all initially stand out as engaging characters (among the real changes here, trans actress Luna plays Lourdes as trans without that defining her whole personality). It’s just a shame that the story later veers away from the group dynamic, bringing in a predictable outside threat that is far less compelling than the original’s take on the highs and lows of female friendship.
A more grounded approach means that the magic seldom measures up.
And though there are some fun moments of witchcraft on display, with time-stopping sequences, psychokinetic shoving and flames springing from fingertips to sear trolling graffiti from a locker, a more grounded approach means that the magic seldom measures up, the potential bound by budgetary constraints.
As before, there are mean girls and bully boys, and subtexts aplenty, but tantalising threads of ideas suggested earlier in the narrative are left dangling as the film appears to end before the story has truly been told. Despite the care and attention in the early stages, this Craft is less satisfying than the ’96 brew.
