The Craft got better as it got older
Mixed reviews, a surprise hit, then three decades of reappraisal that inverted which half of the film people take seriously.
- format
- formula
- atomic
- reception
- commerce
The numbers first. Made for about US$15 million, opened to US$6.7 million and finished on US$55.6 million worldwide — a hit on reviews that were, at best, split. It holds a Saturn nomination for Balk and an MTV Movie Award for best fight.
Ebert — The Craft review (1996) gave it two stars and located the failure precisely:
The movie's failure is one of imagination. It tilts too far in the direction of horror and special effects.
What changed. Nothing in the film. The reappraisal is a reweighting: the first hour — friendship, power, four girls who are each specifically unhappy — is now the part that gets taken seriously, and the moralising second half is read as the studio flinching. Nancy, the 1996 cautionary example, is now routinely the sympathetic centre (The Craft — Nancy's turn).
Why keep this as a note. It is the clearest case here of a text staying still while its Values context moves, and a caution about treating any single review — including a good one — as the meaning of a film. Compare Taxi Driver — the shoot-out, where the gap opened in the opposite direction: the director's intended reading lost to the audience's on opening night, and never recovered it.