Witch riding vacuum cleaners has gained popularity as a fun and creative Halloween decoration idea. It involves transforming ordinary household vacuum cleaners into whimsical witches, complete with broomsticks and pointy hats. This trend emerged as a way to incorporate a touch of spooky charm into home decor during the Halloween season. To create a witch riding a vacuum cleaner, individuals typically start by choosing a suitable vacuum with a long handle that can resemble a broomstick. They then attach a decorative witch hat to the top of the vacuum cleaner, giving it a distinct and recognizable look. Some people also add additional embellishments, such as witch boots or a makeshift body for the witch using fabric or cardboard.

Plot

A ventriloquist is at the mercy of his vicious dummy while he tries to renew a romance with his high school sweetheart.

Magician's assistant Corky (Sir Anthony Hopkins) performs disastrously at his first solo appearance. He is given a ventriloquist dummy called "Fats" to improve his act, and within a few years, Corky is at the height of fame. However, Fats has developed a mind of his own, and wants to control his master. —Col Needham

Disturbed celebrity magician Corky (Sir Anthony Hopkins) finds himself at the mercy of his murderous dummy, Fats. Seeking refuge from his new found fame, he heads to the isolated mountain retreat run by his high school love, Peggy (Ann-Margret), in hopes of starting a new life; but finds that Fats has no intentions of letting him off so easy. —anonymous

Who's the puppet and who's pulling the strings? Find out the terrifying truth in "Magic", the horror classic directed by Richard Attenborough and starring Anthony Hopkins. Hopkins is Corky, a failed magician who finds sudden stardom as a ventriloquist when he comes across a foul-mouthed dummy named Fats. But as the pressures of stardom mount, something strange begins to happen as the dummy takes control of his human. Ann-Margret co-stars in this chilling tale.

Synopsis

A magician named Corky (Anthony Hopkins) does poorly on stage. When he reports back to his teacher, Merlin (E.J. André), he is told he needs some kind of hook or gimmick to connect with the audience. When he adds ventriloquism to his act, using a dummy named Fats, his career takes off.

Over time, he plays bigger theaters and appears on talk shows, and then his manager Ben Greene (Burgess Meredith) brings him an offer for the big time, on television. The only problem: a medical examination is required. Corky absolutely refuses, stating it's a matter of principle. but as the conversation continues, he becomes almost hysterical at the prospect.

He packs up and returns to his old hometown to rethink his career. He gets a cabin at a lakeside resort run by his high school crush Peg (Ann-Margret). It's obvious she returns his feelings, but she is married to an overbearing but dedicated husband Duke (Ed Lauter) who is a bit jealous and possessive.

As Corky is trying to rekindle their relationship, his private conversations with his alter ego dummy, known as "Fats," take on a sinister and self-abusive quality. Fats goes from an amusing character played through his mannequin, into a schizoid-like personality split, in which Corky no longer can discern that Fats is a feature of his subconscious self.

His manager Ben comes out to the resort to find Corky. He sees that Corky is losing it, and challenges Corky to, ". make Fats shut up for five minutes. " which is played out in real time. It's frightening, because Corky is clearly insane, and he admits this, twitching and shifting uncomfortably in his seat, when he says, "I'm not going to make it. "

Fats determines that Ben has to die in order to preserve their secret, so Corky kills him and drops the body in the lake. Peg's husband returns, and after the suspicious Duke finds Ben's car and body, he must be killed as well. At the end of the movie, Peg agrees to run away with Corky, but wants to wait until Duke returns to tell him face to face rather than just leaving. Corky, who has pledged to pack up Fats for good when he leaves with Peg, becomes desperate since he knows Duke is never coming back.

Fats tells Corky he has to kill Peg as well, and a tormented Corky goes to the main house to do his bidding. When he returns to the cabin, Fats starts to feel unwell, and Corky reveals that he has stabbed himself rather than hurt the only person he loves. Corky crawls over to Fats, and they lie down together to die. Peg walks down to the cabin, calling to Corky that she has changed her mind and is ready to leave, but there is no answer.

One of Horror’s Most Terrifying Love Stories: ‘Magic’ Turns 45

The phrase “they don’t make them like they used to” is thrown around a lot in the context of nostalgia, but in the case of the first teaser for Magic, it’s quite accurate. Imagine sitting around the TV with your family and seeing this commercial pop up on screen back in the 1970s. The simple but terrifying ad didn’t give away much about the actual plot, but it did instill a lot of traumatic nightmares for any young viewers that happened to catch it. The TV spot was so effective that it’s arguably scarier than the actual film; it wasn’t the straightforward horror story the teaser indicated but much more a psychological thriller. Released 45 years ago on November 8, 1978, Magic is an underappreciated classic and one of horror’s most unnerving love stories.

Written by William Goldman (The Stepford Wives, The Princess Bride), and adapted from the novel he also wrote, Magic revolves around a ventriloquist seeking to renew a relationship with his former high school sweetheart. The only problem is that his dummy is the jealous type.

That ventriloquist, Corky, is played by Anthony Hopkins. Corky opens the film as an aspiring magician, but lacks the charisma of his mentor Merlin. Socially awkward, Corky chokes on stage and his subsequent outburst toward a less than enthusiastic audience has his ailing mentor warning him to develop a better stage presence and gimmick. Cut to a year later, where Corky has completely turned his show around thanks to the addition of ventriloquism in his act, with his dummy Fats. The act is so compelling that his agent Ben Greene (Burgess Meredith) has lined up a great TV deal for him. But the network requires a medical exam to close the deal, and Corky runs back home to the Catskills out of fear. Corky’s fears are amplified when he renews a relationship with married woman Peggy (Ann-Margret), and Fats isn’t thrilled about it.

Unlike the ambiguity in Goldman’s source novel, the film version of Magic doesn’t make any attempts to conceal the truth about Fats. Hopkins plays Corky always on the edge, always manic and nervous save for the fleeting moments of calm happiness with Peggy. Fats even looks just like Corky, and is voiced by Hopkins too. Fats is a manifestation of Corky’s id, and Corky is aware of his mental instability from the get-go.

There’s a sadness in Corky’s desire for normalcy despite knowing Fats won’t ever let him have it, but the true tragedy is the way Peggy is caught in the middle. Stuck in an unhappy marriage, it’s easy for her to be manipulated by Corky. Corky is always a means of escaping not just her marriage but her small town, making it easier to turn a blind eye to his erratic behavior. Ann-Margret has the tough job of playing the straight-man against Hopkins’ manic man losing his grip, and she pulls it off well. According to Goldman, he wrote Peggy with her in mind.

Though many names were tied to this film prior to production, from Roman Polanski to Steven Spielberg, the directorial duties ultimately fell to Richard Attenborough, the director behind Gandhi and A Bridge Too Far, but who fans will ultimately recognize as Professor John Hammond from Jurassic Park. Throw in the talents of cinematographer Victor J. Kemper (Audrey Rose, Xanadu, Pee-Wee’s Big Adventure) and a score by legendary composer Jerry Goldsmith (Alien, Gremlins, Poltergeist), and Magic became an impressive film inside and out.

Magic wasn’t the first time that a ventriloquist was terrorized by his own dummy, but its emphasis on the psychological, Hopkins’ intense performance, and Attenborough opting for straightforward tension without a hint of camp elevated the film into something that holds up well, even if nowhere close to being as scary as the initial TV spot suggests. Moreover, Magic served as direct inspiration for Don Mancini’s original screenplay for Child’s Play, fittingly released almost a decade apart to the day. The story of Corky and Fats may not be as well known, but the influence of Magic is still strong in horror even 45 years later.

Editor’s Note: This article was originally published on November 8, 2018.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

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Editorials

‘Primeval’ – Revisiting a Flawed But Unique Killer Croc Movie

January 12, 2024

While “based on a true story” is typically a ploy to lure in audiences, the basis of the 2007 movie Primeval does, in fact, exist. Or at least he did, at one point. The whereabouts of what many deem the “world’s most prolific killer” — a decades-old Nile crocodile named Gustave who allegedly claimed somewhere between 200 and 300 human lives — are murky nowadays. Some say Burundi’s most infamous reptile is long gone, and others demand proof of his passing. Regardless, Gustave’s notoriety lives on in this panned Hollywood creature-feature with a severe identity crisis.

Back then, it was understandable to have a cursory look at the original ad campaign for Primeval and not realize the movie is about a crocodile. An intentionally vague trailer led to complaints of deception from viewers; they were expecting a movie about a human serial killer. Imagine their surprise once they watched Primeval, which, for obvious reasons, was not screened for critics before its release. Bumping up the premiere by several months — to January, no less — also did not bode well. As anticipated, Michael Katleman’s directorial feature debut was chewed up and spat out by critics.

In cinema, 2007 was the year of the crocodile. Along with Rogue , Greg McLean’s much anticipated follow-up to Wolf Creek , was another Australian ripped-from-the-headlines saltie thriller called Black Water . However, both movies did not see a commercial release until after Primeval was rushed out by Buena Vista. Behind-the-scenes drama sank Rogue ’s chance of a theatrical premiere in the United States, whereas Black Water slipped under the radar despite positive reviews. Needless to say, Primeval was the only one of this toothy trio to grace the American big screen. Critics did not miss an opportunity to note the small surge of croc horror that year, and a few did their damndest to steer potential viewers away from Primeval and toward Rogue (even with McLean’s sophomore pic being stuck in distribution hell). Nevertheless, the dissuasion was undue. As confused and uneven as Primeval turned out to be, the movie’s disreputation is not completely warranted.

Image: Orlando Jones and Brooke Langton’s characters run from danger in Primeval.

The criticism of Primeval taking itself too seriously seems almost strange to hear these days. By and large, though, people still expect “nature’s revenge” horror to be silly and campy. The subgenre has its roots to consider, yet after so much frivolity from the Syfy side as well as the lingering effects of the postmodern horror wave, a straight approach for this kind of movie was good in theory. The execution, on the other hand, made Primeval not only difficult to digest but also tonally awkward.

The attempt to make Primeval an issue-film is far from perfect. Maybe even reckless. Worst of all, John Brancato and Michael Ferris ’ bizarre and totally unsubtle script does not accomplish much of anything in the end apart from some inevitable white knighting. The political framing device does, at the very least, fatten up an otherwise anemic story. The basic concept of a TV network staging the capture of the legendary Gustave could have gone either way. After all, safe and undemanding is the norm for monster movies. It is the unconventional, not to mention questionable pairing of a maneater’s intrinsic horrors with the atrocities of a civil war that ultimately muddies the water. This is not the sort of exploitation that viewers signed up for.

As self-important as Primeval comes across, it does manage to be self-aware from time to time. The frequent scene-stealer and most likable character, a comical American cameraman played to the max by Orlando Jones , has a real way with words. Following the Gustave-related death of a British forensic anthropologist in Burundi, Jones’ character Steven sums up the movie’s inciting incident best: “You know what, this crocodile’s like O.J. Simpson; he messed up when he killed that white woman.” Vulgar, yes, but not too off the mark in this case. And when it comes to the indifference toward urgent domestic affairs in Africa, Primeval points a finger at the West. Funnily enough, the script is guilty of its own accusation. The constant prioritization of animals over human lives also comes up as the movie’s own resident croc hunter ( Gideon Emery ) states there are “more than enough human beings on this planet” and Gustave is of “greater value.” Mind you, he has the audacity to say this as genocide continues in Burundi.

Image: Gustave the killer Nile Crocodile appears in Primeval’s finale.

Primeval could have very well been pitched as Lake Placid meets Blood Diamond . Although, this cocktail of bestial horror and political thriller is often more sobering than inebriating, especially when the American characters get mixed up with the Burundi warlord who goes by the nickname of Little Gustave ( Dumisani Mbebe ). Other movies would refrain from being so on the nose about their message, but Primeval lacks nuance. The metaphor here does not go unnoticed or unsaid as Dominic Purcell spoon-feeds it to both his co-star, Brooke Langton, and the audience. Upon learning Little Gustave’s victims wind up as meals for Big Gustave, Purcell’s character says with a straight face: “We make, create, our own monsters.”

Clumsy and unrefined as it may be as a political piece, Primeval moderately succeeds as a creature-feature. The movie’s insatiable centerpiece always leaves the audience wanting more during his meager appearances. Those run-ins with Gustave include implausible but exhilarating set-pieces that embody 2000s Hollywood excess. Due to an extensive and flagrant use of CGI — the movie ended up abandoning a practical animatronic during filming — Gustave resembles and acts like a mythical dragon more than anything tangible and existing in nature. The guttural roar in place of an authentic croc hiss evokes memories of the growling shark in Jaws: The Revenge , and Gustave’s ability to gallop across grasslands and crawl up and down the sides of a cage defies both credibility and physics. Still and all, more go-for-broke stunts and less bleak warfare for the sake of genre entertainment would have immensely benefited Primeval . When the movie leans into its cold-blooded antagonist’s predation, it is undoubtedly more satisfying.

Primeval remains polarizing all these years later. Admittedly, the opportunistic and misguided political element preoccupies way too much of the story, but several bright spots — namely Gustave’s flashy feats, Orlando Jones’ amusing if not indelicate turn, and the surplus of South African vistas — help raise the value of this widely panned monster romp. It can be argued that Primeval does too much for a movie of this caliber; it feels stuck between two genres. As a counterpoint, its flawed and messy ambition is still preferable to all the more routine crocsploitation movies currently swimming in existence.

Image: Brooke Langton, Dominic Purcell and Gideon Emery in Primeval.

Film / Magic

Magic is a 1978 Psychological Horror film directed by Richard Attenborough and written by William Goldman, who adapted his own 1976 novel of the same name.

Failed stage magician Corky Withers (Anthony Hopkins) manages to rejuvenate his career with the addition of ventriloquism to his act; unfortunately, he also begins to manifest a split personality via his dummy, Fats, and just as he's about to hit it big with a television deal, chooses to flee rather than submit to the required medical exam.

Corky heads to the Catskills, where he soon encounters his old high school crush Peggy (Ann-Margret) and her grouchy husband Duke (Ed Lauter). Meanwhile, Corky's agent, Ben Greene (Burgess Meredith), has pursued him and quickly becomes suspicious regarding his mental well-being. Before long, the situation begins to turn violent.

In September 2022, it was announced that a Remake of the film had entered development.

Some people also add additional embellishments, such as witch boots or a makeshift body for the witch using fabric or cardboard. While this trend may seem lighthearted and entertaining, it has drawn criticism as well. Some argue that transforming vacuums into witches is an unnecessary and potentially wasteful use of household items.

This film contains examples of:

• Adaptation Distillation: Goldman's novel would have been very hard to put on-screen as it was written.
• Affably Evil/Faux Affably Evil: Fats tends to alternate between the two of these.
• Asshole Victim: Duke, subverted that despite his rocky marriage and being a Crazy Jealous Guy, he still remains polite to Corky out of appealing over their high school-dated friendship rather than confront him for his affair with his wife, confiding that he still loves her and is afraid to lose her.
• Becoming the Mask: Fats's personality gradually consumes Corky's. Corky stops Fats from pulling a Split-Personality Takeover at the end by killing himself.
• Cool Old Guy: Corky's agent Ben.
• Demonic Dummy: Fats. He managed to scare Hannibal Lecter, for God's sake.
• Description Cut: In the opening scene, Corky tells his mentor Merlin all about what a rousing success his first magic show was, while we see that it was actually anything but.
• Disposing of a Body: Corky throws Ben Greene's body in the lake. only for it to be discovered during a fishing excursion.
• Downer Ending: Corky stabs himself in order to stop Fats. except the last scene implies that Fats now resides in Peggy.
• Driven to Suicide: Corky mortally wounds himself to stop Fats from murdering Peggy.
• The Film of the Book: Done in a much more straightforward manner than the kaleidoscope-esque novel, which changed time period, location, and point of view swiftly and left important information, such as the identity of Fats the dummy, unknown for extended periods of time.
• He Knows Too Much: Both Ben Greene and Duke are killed after discovering the dark truth about Corky and Fats.
• Hero Antagonist: Duke and Ben Greene, who are swiftly replaced by Fats after they are killed .
• Ironic Echo Cut: After Corky rents the cabin from Peggy.

• However, the last scene implies Fats managed to do this. with Peggy .

Peggy: I'm warning you, Cork. Don't play hard to get with me. 'Cause I'm a woman, seeing I can always change my mind again. (In a Fats-like voice.) You may not get this oppor-fucking-tunity tomorrow!

They express concerns about the environmental impact and suggest finding alternative ways to celebrate Halloween without adding unnecessary waste. However, proponents of witch riding vacuum cleaners argue that it is a creative and harmless way to embrace the Halloween spirit. They contend that using an existing household item like a vacuum cleaner for decorative purposes is a way to repurpose and give new life to something that would otherwise be discarded or forgotten. In recent years, this trend has gained popularity on social media platforms, with individuals sharing photos and videos of their witch riding vacuum cleaners. This has created a sense of community and inspiration among Halloween enthusiasts, as people show off their unique creations and provide ideas for others to try. As a result, many households have jumped on the bandwagon and included witch riding vacuum cleaners as part of their Halloween decorations. Overall, the trend of witch riding vacuum cleaners is a fascinating example of how creativity and imagination can transform ordinary household objects into something extraordinary. Whether one views it as a fun and harmless activity or a wasteful use of resources, there is no denying that it has brought some added excitement and whimsy to the Halloween season..

Reviews for "Witches"

Witches