I gave it a 7.5 out of 10

Good story, Not enough for a whole film

everything you have heard about this movie is true.

If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

The technicolor is interesting but I don't think it's enough to warrant some of the 10/10 ratings I've seen.....the look and acting style is well done if this film is the parody of the type of film I think it's aiming for but at the end of the day they are copying those old bad movies and that's the end result..... Poor story and dialogue and I couldn't see any worth while point this film might or might not have been trying to make, I can't even say it falls under the umbrella of "it's so bad its good" or "it's so bad its funny"..... It just seemed the equivalent of putting on a musical show of stuff from a by gone era but only using mediocre music instead of going for the best tunes of the day....it's a case of the emperor's new clothes for me but some people obviously like it

About 10 minutes into the film I paused it and read a couple of articles on the Internet and read up on the director and her, lets call it "agenda" regarding the film. I carried on watching. Carried on watching for the whole 2 hours. Even though I had enough at about an hour in.OK, let's talk good points. The film was absolutely stunning to look at, with beautifully rich, vibrant colours and a good looking cast. Yes, it certainly had that homage feel to it. A little bit of 60s, but mainly 70s. It looked and felt like it could've been a lost Hammer film, recently restored to its full glory. Really nice set pieces and costumes. Even a touch of a eurotashy type score. Even the acting, as its meant to be, nice and cheesy. They had that spot on, if indeed it was meant to be a homage or actually set in the 70s (I'll come back to that later). That's really all the positives I took away from it. You could say it's style over substance. Anna Biller certainly tried to add something of substance in there which just ended up being one long joke. A very long, 2 hour joke. First of all, let's touch on the 70s vibe, remembering that I've only seen the one trailer (I don't watch many trailers or clips for the same film due to the amount of disappointed when watching the film) and read no other reviews, till that 10 minute mark anyway. My first gripe and probably the major one, with the way the movie looked and felt, if you're going to make a film so overpowered with a 60s/70s feel then set it in the 60s/70s. Seeing a very small amount of modern cars mixed in with all the old (the opening scene - the police car. Shortly after - the BMW pulling up outside the house) "classic" cars really throws off that feeling.The other and only issue, a big one as a whole. The whole film was one big kick in the balls to men by a female director that's clearly one of these modern third-wave pseudo feminists (that's had a few bad experiences, but don't worry, her and her 10 cats will live happily ever after together)! Quite frankly it ruined the film turning it into, one big joke. It ended up being a 2 hour long feminist propaganda film. It ended up being a mess, not deciding what it wanted to be. A Pagan Witch film? A Hammer film? A homage film? Set in present day film? A sexist film? A feminist's wet dream? It's ended up being nothing more than a spoof.You can read my full review on Maven's Movie Vault of Horror.

Excuisite work of art, not knowing this movie was made last year surprised me even more. Beautiful color, costumes, the little details in the set, and the main lead. The plot's slow, exactly like old movies, some people who are accustomed with fast paced movie plot of course cant enjoy it, to me watching this movie is like reading a book, it's relaxing. Once again amazing cinematography, there're some movie that tried to copy old style cinema, "the artists" for instance, it didn't feel classic at all, the main lead, the forced black and white color & mute dialogue, it doesn't come close to the classic technicolor feeling like this artistic movie.

"Two hours!", I thought before watching The Love Witch. Most of the independent horror movies run between 80 and 90 minutes, and I usually prefer them that way, because they will probably won't have too much filler or irrelevant elements. However, two hours later, I ended up liking The Love Witch pretty much. Sure, the film still feels a bit longer than it should; however, on the other hand, the vision from director/screenwriter/producer/editor/decorator/costume designer/composer (I'm not kidding) Anna Biller requires that languid rhythm in order to establish the surrealistic "erotic horror" atmosphere cultivated during the '70s by European filmmakers such as Jean Rollin, Roy Ward Baker and Jess Franco. Besides, the slowness of The Love Witch allows us to admire the extraordinary Technicolor cinematography from that time, full of saturated colors, bizarre frames and long takes. Speaking of which, Biller composed a few songs for The Love Witch, but the soundtrack is composed by the work of masters such as Ennio Morricone and Piero Piccioni, whose scores for the films Il Diavolo nel Cervello and Le Mani sulla Città, among other ones, are a good complement to the dreamlike tone of The Love Witch. And I can't forget to mention the amusing performances from Samantha Robinson, Laura Waddell, Jared Sanford, Jennifer Ingrum, Gian Keys, Jeffrey Vincent Parise and Robert Seeley; their works seem rigid and theatrical, but it's an intentional decision which solidly complements the creative alchemy offered by Biller. Regarding the previously mentioned "erotic horror", The Love Witch includes some sex scenes, but they are never as explicit as the ones from the films it emulates; and besides, their semi-humorous context makes them seem almost innocent. For better or for worse, The Love Witch is a clear style over substance case; however, the style is so attractive that it compensates the weak substance to a big degree, so I partially recommend this film for what it says, but fully because of how it says it. In summary: a very interesting work from Biller, which reveals her as a filmmaker with a potent vision.