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The Witches of Eastwick

The Witches of Eastwick

Comedy · Fantasy · Horror · 1987

Three single women in a picturesque village have their wishes granted, at a cost, when a mysterious and flamboyant man arrives in their lives.

Movie details

The Witches of Eastwick

“Three beautiful women. One lucky devil.”

1987 Comedy · Fantasy · Horror 1h 58m

Critical arithmetic

The consensus, allegedly.

IMDb

6.6 / 10

82K votes

Rotten Tomatoes

67 %

Tomatometer

Metacritic

67 / 100

Metascore

TMDB

6.5 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Three single women in a picturesque village have their wishes granted, at a cost, when a mysterious and flamboyant man arrives in their lives.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Witches of Eastwick?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

George Miller

Written by

Michael Cristofer

Jack Nicholson

Jack Nicholson

Daryl Van Horne

Cher

Cher

Alexandra Medford

Susan Sarandon

Susan Sarandon

Jane Spofford

Michelle Pfeiffer

Michelle Pfeiffer

Sukie Ridgemont

Veronica Cartwright

Veronica Cartwright

Felicia Alden

Richard Jenkins

Richard Jenkins

Clyde Alden

Keith Jochim

Keith Jochim

Walter Neff

Court is in session

Put The Witches of Eastwick on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.