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|Hansel & Gretel: Witch Hunters|
International release poster
|Directed by||Tommy Wirkola|
|Produced by||Will Ferrell
|Written by||Tommy Wirkola|
|Music by||Atli Örvarsson|
|Editing by||Jim Page|
|Studio||MTV Films (uncredited)
|Distributed by||Paramount Pictures
|Running time||88 minutes (theatrical cut)
97 minutes ("extreme version")
Hansel & Gretel: Witch Hunters is a 2013 American-German action-horror dark fantasy film with black comedy elements, co-written and directed by Norwegian filmmaker Tommy Wirkola and filmed in 3D. It is a continuation to the German folk fairy tale "Hänsel and Gretel", which was recorded by the Brothers Grimm and published in 1812. The film stars Jeremy Renner and Gemma Arterton in the title roles of a brother-and-sister duo of professional witch hunters. Famke Janssen stars as the deadly leader of a coven of evil witches that they seek out to destroy.
Wirkola got the idea to create a film based on the adult lives of Hansel and Gretel in 2007 while at film school in Australia. After being discovered by Gary Sanchez Productions, Wirkola pitched the idea at a meeting with Paramount Pictures and won a contract. Production began in March 2011 at the Babelsberg Studios in Germany and included extensive use of traditional special effects. In addition, Renner and Arterton had a month of training beforehand to prepare for the physical demands of their roles. In terms of the weapons and wardrobe, Wirkola wanted an old-world look with a modern touch and he was adamant about filming outdoors in European nature rather than in a studio. The project was filmed in Germany and featured an international cast and crew.
Originally scheduled for release in March 2012, Hansel & Gretel was delayed for ten months to accommodate Renner's appearances in The Avengers and The Bourne Legacy and to give Wirkola time to shoot a post-credits scene. It premiered in North America on January 25, 2013, in 2D, 3D and IMAX 3D, as well in D-Box motion theaters and select international 4DX theaters, and was rated R in the United States. The film will have its home media release on June 11, including a longer, unrated version on Blu-ray Disc.
Hansel & Gretel: Witch Hunters was generally panned by mainstream critics, particularly for what they saw as its weak script and gratuitous violence. However, many horror genre critics were more positive, viewing the film as unpretentiously entertaining. The film topped the domestic box office on its opening weekend and was a major hit in Russia, Brazil and Mexico. Its worldwide theatrical run gross exceeded $200 million for the production cost of $50 million. Due to the commercial success of the film, which was planned as the first part of a series, its sequel is currently in development.
Abandoned by their father deep in a forest, young Hansel and Gretel enter a gingerbread house and are nabbed by the old witch who resides in it. The witch forces Hansel to continuously eat candy while making Gretel prepare the oven, but the siblings outsmart her and shove her into the fire. Throughout the fifteen years after the incident, Hansel and Gretel become famed bounty hunters dedicated to mercilessly eradicating witches. Their work is relatively easy because, for an unknown reason, they are immune to spells and curses. Hansel, however, is diabetic as a result of his ordeal and needs to take a regular shot of insulin every few hours.[N 1]
One day, in the town of Augsburg, Hansel and Gretel prevent Sheriff Berringer from executing Mina, a young woman accused of witchcraft. Mayor Englemann has hired the siblings to find and rescue several children abducted by witches. Berringer hires trackers for the same mission, hoping to regain the respect of the Mayor. However, all but one of the party are killed that night by the powerful grand witch Muriel, who sends the surviving member back to the town tavern to explode as a warning to the locals. Hansel and Gretel, with the help of the Mayor's deputy Jackson, capture Horned witch and interrogate her. They discover that the witches are preparing for the ritual of Blood Moon, which requires sacrificing six boys and six girls, each born on a separate month. Suddenly, Muriel, Redhead witch, and a troll, Edward, attack the town and abduct the targeted girl. Gretel is knocked unconscious but is brought to safety by a teenager named Ben, their local fanboy and an aspiring witch hunter; Jackson is forced to kill himself with his shotgun while being controlled by Muriel. Hansel grabs a fleeing witch by her broomstick, but becomes lost in the forest.
The next morning, Hansel is found by Mina, who takes him to a spring to heal his wounds. Meanwhile, Gretel enters the forest to search for him, but she is assaulted by Berringer and his henchmen for luring the witches to their town. She is rescued when Edward intervenes to kill the men and mend her injuries. When Gretel asks why he saved her, Edward answers that trolls serve witches and walks away. Hansel and Gretel reunite at an abandoned cabin, which they discover is not only their childhood home, but also a witch's lair. Muriel appears in front of them, telling them the truth of their past. She reveals that Hansel and Gretel's mother was a grand white witch named Adrianna, married to a farmer. On the night of the Blood Moon, the heart of a white witch is needed to create a potion that makes witches impervious to fire. As Adrianna was too powerful, Muriel targeted Gretel, who was revealed to be a white witch herself. Muriel spread a rumor across the village about Adrianna. To keep the siblings away from the mob of villagers, their father left them in the forest before he was hanged, while their mother was burned at the stake. Following this revelation, the siblings battle Muriel before she stabs Hansel and abducts Gretel for the ceremony.
Hansel wakes up to the sight of Mina, who reveals herself to be a white witch. After Mina uses a spell to bless the siblings' arsenal, Hansel, Mina, and Ben head to disrupt the Blood Moon Sabbath. Whilst Mina mows down dozens of witches with a Gatling gun, Hansel squares off against Muriel's minions and frees the children, while Edward defies Muriel's orders and releases Gretel before Muriel throws him off the cliff. Muriel attempts to flee, but Ben shoots her off her broomstick. On her way to meet up with Hansel, Gretel finds Edward and uses her stun gun to defibrillate him back to life. Hansel, Ben, and Mina follow Muriel's trail to the old gingerbread house. During their confrontation, Mina and Muriel battle as Ben and Hansel are knocked to the ground. Muriel fatally stabs Mina. Gretel arrives to find Hansel in battle with Muriel. The siblings then engage in a grueling fight against Muriel inside the gingerbread house, until they behead her with a shovel. In the end, Hansel and Gretel collect the rest of their reward for rescuing the children before embarking on their next hunt, with Ben and Edward joining them.
- Jeremy Renner as Hansel
- Cedric Eich as Young Hansel
- Gemma Arterton as Gretel
- Alea Sophia Boudodimos as Young Gretel
- Famke Janssen as Muriel
- Pihla Viitala as Mina
- Derek Mears as Edward
- Robin Atkin Downes as Edward (voice)
- Thomas Mann as Benjamin "Ben" Wosser
- Peter Stormare as Sheriff Berringer
- Rainer Bock as Mayor Englemann
- Bjørn Sundquist as Jackson
- Ingrid Bolsø Berdal as Horned witch
- Joanna Kulig as Redhead witch
- Zoë Bell as Tall witch
- Monique Ganderton as Candy witch
- Thomas Scharff as Hansel and Gretel's father
- Kathrin Kühnel as Adrianna
Hansel and Gretel: Witch Hunters is the first English language film and the first big studio production of the Norwegian writer and director Tommy Wirkola, up to this point best known for his Nazi zombie-themed, independent horror comedy film Dead Snow (2009). Wirkola said he was contacted by the producer Kevin Messick from Gary Sanchez Productions after the screening of Dead Snow at the Sundance Film Festival: "So my first meeting, my first day in LA was with those guys and I pitched Hansel and Gretel and they loved it. And they took me to Paramount two days after and we sold it." In 2013, Wirkola commented: "I’m still surprised that they went for it, because it’s a crazy, rock n’ roll script. It’s full throttle, there’s lots of blood and gore and bad language, I often wonder how I got this movie made. It’s all across the world now. But people really seem to respond to it, which is what we hoped, that people would enjoy this ride."
An announcement of Hansel and Gretel: Witch Hunters sparked a production of several other "Hansel and Gretel"-based films made by different studios, including The Asylum's mockbuster Hansel & Gretel, Syfy's Witchslayer Gretl, and Lionsgate Home Entertainment's Hansel & Gretel: Warriors of Witchcraft. The film was also a part of an overall Hollywood trend of witch-themed films, among them Beautiful Creatures and Oz the Great and Powerful, set to be released that same season. The project was given a budget of $50 million, co-financed by Metro-Goldwyn-Mayer.
Concept and design 
Wirkola said: "I have a strong memory from my childhood of just how dark and gruesome their tale was and I wondered what would have happened to the two of them when they grew up? They had this dark past and this intense hatred of witches. So as I thought about it, it made sense to me that of course they would be fated to become great witch hunters. We wanted it to feel like this could be happening 300 years ago but at the same time, there is a modern spin on all the action, characters and weaponry. It was a fun way to make a classical world feel fresh." Wirkola said that he originally came with that idea in 2007 while studying film and television at Bond University in Australia, when he wanted to make it as just a short film, and that the film school director Simon Hunter advised him: "Tom, don't ever speak of the idea again until you are in front of a Hollywood producer and I guarantee you will sell it." Gary Sanchez Productions' Adam McKay said in 2010: "The idea is, they've grown up and they hunt witches. It’s a hybrid sort of old-timey feeling, yet there’s pump-action shotguns. Modern technology but in an old style. We heard it and we were just like, ‘That’s a freakin’ franchise! You could make three of those!'" Dante Harper was hired to rewrite the script, aimed for "having a gory-but-funny Shaun of the Dead vibe."
Messick said they designed "a fairy tale, mythological fantasy world" that feels like it happened long time ago but is not set in any particular time period. Marlene Stewart created the film's costumes, using traditional leather and linen but without an antique look. Its steampunk-like, retro-futuristic weapons were created by the weapon designer Simon Boucherie and Wirkola, who said they wanted Hansel and Gretel's weapons to look as if the characters hand-made them. Wirkola stated he "just wanted this crazy, mashed-up world where you can’t pinpoint where it is, or when it is" and the modern elements are there to "add to the fun and tone of the film." He said: "We wanted the movie to feel timeless and for the movie to feel like a fairy tale, but still grounded. It was a lot of fun coming up with the different weapon designs and ways of killing witches. We mixed old and new elements. But no matter how modern some of the weapons are, they all have an old-fashioned feel and look like they could fit into this world."
The Stone Circle witches' looks were designed by Twilight Creations (Harry Potter and the Deathly Hallows). According to McKay, "the witches are awesome in it. Nasty, mean witches, and we'll get some great actresses for them as well." Wirkola said he wanted to reinvent witches as villains: "I do love Witches of Eastwick. We wanted to try to avoid the classical witch with the long nose stirring the pot. I really wanted them to be...dangerous, fast – they’re stronger than Hansel and Gretel...It’s a good basis for a villain." He recalled that "the most fun was finding their look and sound. For the main witches, we found one animal to represent all of them, like Muriel is a wolf. It just helped us find the witches. In some ways, it feels like they're the spawn of the dark places of nature. It should feel animalistic." Asked if he was worried about "this perception that it might be interpreted as sexist", Wirkola said: "For me, that’s a classical villain from hundreds and hundreds of years ago. Yeah, I never worried about that, to be honest." He added: "People forget how truly dark and twisted those stories are. [The original "Hansel & Gretel"] talks about a witch burning alive in an oven, screaming and scratching." Ulrich Zeidler's concept arts for some of the witches were released on the Internet.
Casting and characters 
Jeremy Renner played the film's adult Hansel. Renner said that his initial attraction came from a one sheet he was given even before seeing the script, showing Hansel and Gretel walking away and a witch burning at a stake in the background, which he found "incredibly interesting" (this scene was included in the finished film). He added: "When I read the script, my first thought was, 'I can’t believe this hasn’t been done yet.' It’s such a great idea with so much potential. That dynamic was definitely a big thing, I loved that what Tommy [Wirkola] wrote left so much room for character." Wirkola said he wanted Renner in the role after seeing him in The Hurt Locker. Wirkola, who described Hansel as the "loose cannon" of the duo, gave him an additional character flaw of diabetes, in addition to the psychological scars that Hansel shares with his sister (in the original idea for the short film, Gretel was also suffering from eating disorder). Renner said it was a great escape for him "as this was a fairytale with no stress like the other action movies I'd done recently. I was having so much fun hanging on a wire like Peter Pan, hanging onto a broom and doing other crazy stuff." He stated: "That was one of the most fun jobs I’ve ever had because there’s something magical about that old world, fantasy thing."
The role of adult Gretel, whom Wirkola wanted to be "a really, really strong and fun female character," was originally planned for Noomi Rapace, who dropped out of consideration for the part prior to early January 2011. Diane Kruger and Eva Green were reported to also be in talks for the role. English actress Gemma Arterton was ultimately cast in the role. She impressed Wirkola with her performance in The Disappearance of Alice Creed, and, after they have met, with her "really filthy sense of humour" as "the humour is essential to this film". Arterton said she was attracted to Wirkola's "strong vision" for the film, calling it "very, very dark, and bloodthirsty and there’s a lot of cursing. It’s kind of got a Tarantino feel, really." Arterton described her character as "much more in tune with her spiritual side. Hansel is a typical action hero, cheeky, funny, a womanizer. She’s much more of a thinker, intense, internal and bit more open-minded than he is." She said that Gretel is "a sexual character but she's not having sex with anybody, which is a change for me because usually in my films I'm sleeping with somebody!" She further explained the characters: "Hansel & Gretel have this unstoppable bond but they’re also so different from each other. She’s the brains of the operation. He’s the brawn. He’s the joker and the show-off. She’s more the watcher, the researcher, the one who tries to really understand witchcraft." Arterton added: "Jeremy [Renner] and I found within the script moments where we showed the vulnerable side of them. Often in action movies, people are scared to put that in. I think it was important." She said that she "loved every minute" of the production and did not want it to end, also crediting for helping her overcome her fear of getting hurt.
The role of the chief witch Muriel, described by Arterton as "the queen bee of witches", was given to Dutch actress Famke Janssen. Janssen too described the film as "Tarantino-esque", with "a lot of blood, gore and exploding witches". Wirkola said he had a crush on Janssen since he saw her in GoldenEye as Xenia Onatopp, "an amazing villain," and that in his opinion her being not only a good actress and a beautiful woman who is "huge" and "menacing somehow" made her "a perfect combination" of "sexy and dangerous". Janssen said that at first the initial appeal was just money, but she quickly took a liking of the script and of Wirkola personally. She also thought the idea of playing an "evil to the core" witch "was appealing and different", saying: "I hadn't done anything like it…A character like a witch feels like you would have so much freedom, because there are no restrictions as to what you can do." Later, however, she was constantly being distracted by the special effects work and felt that she "really understood the character" only in one part of the film. She found the time-consuming process of applying such makeup (taking three hours to apply and one hour to remove) "very strange" and also felt restricted and afraid of acting over-the-top in her witch role. In the end, she still had "a lot of fun" playing someone who is completely evil, and felt that it was "so empowering" to have "an inner witch to get in touch with once in a while." Janssen said the film might appeal to women and girls, too: "There's a brother and a sister story. And there's a romance in it too - but obviously not with the witch. Nobody falls in love with the witch."
Edward, a morally conflicted troll enslaved by Muriel, was voiced by Robin Atkin Downes and played by Derek Mears (Jason Voorhees in 2009's Friday the 13th). Mears was using an elaborate animatronic suit that he compared to "kind of like NASCAR where I’m piloting it but I'm not doing it by myself...I think there’s like five guys controlling the individual parts of the character. There’s one person who does the eye brows, one person does the feet." Janssen, who could not "say enough things about Tommy [Wirkola]", said she was especially impressed at how he stuck to his specific vision and "fought" hard to hire a number of unknown European actors that would otherwise be unlikely to appear in a big studio American film, in effect making it a much more international production. Several Scandinavian actors were cast in major roles, including Pihla Viitala, Peter Stormare (who Arterton said had actually inspired her to start acting), Bjørn Sundquist, and Ingrid Bolsø Berdal. In addition, actors from Germany and Poland (including Thomas Mann, Rainer Bock and Joanna Kulig) and other parts of the world were also cast. Viitala, a self-described "big fan" of Renner, said she was nervous at first, but found him "extremely" easy to approach, made a good connection, and enjoyed working with him. Wirkola said Berdal was chosen for her "piercing" eyes, adding: "There are a lot of Norwegians in the film. Minor parts, but I knew I could get great actors in small parts and Ingrid has a great physicality." Stormare said he was only surprised at "how smart Tom [Wirkola] is, and how broad this fantasy is and the span of his imagination," his favourite aspect being how "some of the witches are so sexy and cool." He compared the film's production to being in Disneyland, saying it felt like a dream to him.
Filming and post-production 
Wirkola said: "From day one, I was very clear that I wanted to shoot this thing in Europe. I really wanted that European feel of cold mountains, big forests, that sort of spirit was important to me. Luckily we did get to shoot it in Germany which is the homeland of the fairy tale. Shooting in natural outdoor sets is very important to me, compared to working on a sound stage." It took place in Germany, at the Babelsberg Studio in Potsdam-Babelsberg, in a filming location at an old forest near Berlin (production designer Stephen Scott said that he searched for and found what he believed looked like a "medieval forest" free of human interference) and in the city of Braunschweig in Lower Saxony. After the film was delayed to 2013, the crew did a "couple" of re-shoots, including "a little bit" in the deserts of California (filming the post-ending scene, an extended version of which was also released in a promotional clip "The Desert Witch").
The filming process began in March 2011. Wirkola said: "Hopefully – you can see what I’m inspired by: Raimi and Jackson. Actually I’m a big fan of Spielberg and the way he shoots action scenes. I think in a lot of modern action movies, it’s hard to see what’s going on. Shaky cam… Hopefully what we strived for was to go a little retro in how you shoot action scenes." He also credited Quentin Tarantino for influencing him "in many ways" and singled out Peter Jackson's Braindead for having been "a game-changer" for him. The film was shot in 3-D and its real 3D shots were done by lead stereographer Florian Maier and his team from Stereotec. Wirkola said: "We shot half of it in real 3D and the other half was post converted. Actually the 3D thing wasn’t there in the beginning. It was something the studio suggested later on. We embraced it and I think it actually really helps in getting people into this fairy tale world." The filming process took three months. A 12-minute B-roll footage was later released on the Internet.
The film's visual effects were supervised by Jon Farhat and made using mostly practical effects, supplemented by computer-generated imagery (CGI) created by Hammerhead VFX for about 15% of the film's special effects, such as the transformations. Wirkola said: "I’m a big believer in just using CGI to polish what you get on camera. For me that’s the ideal use of CGI. We have a troll in the film that is animatronic. I loved him. It took some convincing to get the studio along with the animatronic creature. There have been bad experiences with animatronics throughout various productions but I saw this company Spectral Motion. They did the Hellboy movies and I just loved it." Wirkola added: "I come from Norway where we can’t afford CGI. But this is a fantastical world of witches and trolls and I wanted to ground the movie where I could. The blood should look real." Janssen, however, despite Wirkola's warnings, "was not entirely prepared for how involved and long that was going to be" and "actually wanted to burn the prosthetic make-up by the end of the movie." She recalled being "so overwhelmed by what this prosthetic business was all about", saying: "Acting has been so specific for me and what I've learned - eyes, facial expressions, all of that stuff - and with something like this, you're robbed of all of this. Or I could no [longer] rely on things I've done in the past. It was different and frustrating at times because I had this circus of people around me in case something became unglued." Conceptual design and production studio Picture Mill collaborated with Wirkola and Messick to create an the title and opening credits sequence telling some of the early adventures of Hansel and Gretel as they grew up to become famous witch hunters. It was created with Stereo3D Toolbox through a combination of hand-drawn illustrations, practical fire effects and CGI animation.
The stunt coordinator was the film's second unit director David Leitch, who compared it to a "Jackie Chan hybrid of comedy and action." Prior to the filming, Leitch organized a month-long boot camp in order to prepare Renner and Arterton (who said she was also glad that at least she could use her prior training that she received while studying at RADA) with extensive weapons, fight and stunt training. Janssen said she enjoyed "flying", something that she always wanted to do, adding that despite her reputation as an action star it was the first film where she really had to do something physical (including suffering a minor accident on the set), because she could not use a double in the close-up scenes where she had the makeup on. During one of the scenes, where Gretel is thrown through a wall and falls down several meters, a stunt double for Arterton was dangerously injured when a nail got lodged in her skull close to the brain; Arterton said she initially wanted to do this stunt herself but Wirkola would not let her. Arterton herself suffered an injury when she sprained her ankle while running through the forest. Stunts for the more aggressive witches were done by New Zealander stuntwoman and actress Zoë Bell. Renner did practically all of his stunt scenes himself.
Janssen said the film is "definitely played with a bit of a wink and doesn't take itself too seriously." Wirkola himself described it as "a little more grounded" and action-centered than Dead Snow. He recalled that he has tried to downplay comedy elements: "If you go too far, it can turn into a spoof almost...We shot a lot more than what is in the movie of course and it’s just balancing it when you’re cutting." Speaking of graphic violence, he said that "the first version we tested was for sure the most extreme. Some stuff stayed in, some stuff got cut out." By August 2012, Paramount was reportedly test screening two versions of the film, rated R and PG-13, and the R-rated cut received the positive feedback. Wirkola said: "I was afraid. I actually made sure they could never cut it to PG-13," adding: "We always knew it was going to be R." He said: "The pre-production and shooting went very smooth, but the post-production was very new to me and how they do things here with testing and the studio." He said about the test screenings in particular: "I can see why they do it – there’s a lot of money involved and they want it to hit as broad as possible. But I think it’s a flawed process, I really do."
Hans Zimmer worked on Witch Hunters as a music supervisor and Icelandic composer Atli Örvarsson (co-author of Zimmer's score for Pirates of the Caribbean: At World's End) worked on the film score. Örvarsson had previously scored Season of the Witch so initially he was "a bit apprehensive" to work on another witchcraft film but was "too fond of the story to say no and found Tommy Wirkola’s take on the subject matter to be very refreshing." Örvarsson found it easier to collaborate with Wirkola due to their shared Nordic heritage and said that their discussions about the music for the film "might have had some of the most cold and dark humor of any Hollywood music meetings."
The film's soundtrack Hansel & Gretel Witch Hunters - Music from the Motion Picture was released in MP3 format by Paramount Music on January 22, 2013. The song "Bundy" by Norwegian rock band Animal Alpha, that is used for the film's end credits, is not included in the soundtrack.
|Hansel & Gretel Witch Hunters - Music from the Motion Picture|
|Soundtrack album by Atli Örvarsson|
|Released||January 22, 2013|
|Genre||Orchestral, electronic, choir|
|1.||"The Witch Hunters"||2:29|
|2.||"Business Is Good"||2:11|
|3.||"Trolls Serve Witches"||3:33|
|4.||"Lost Children Crying, Vol. 2"||2:33|
|5.||"You Do the Bleeding"||3:34|
|6.||"There Are Good Witches in the World"||4:11|
|7.||"This Place Could Use a Bit of Color"||4:17|
|9.||"Don't Eat the Candy"||3:48|
|10.||"Burn 'Em All"||5:03|
|12.||"Shoot Anything That Moves"||3:29|
|13.||"The Fairy Tale"||2:53|
Theatrical release 
Initially slated for a March 2, 2012 release, the film was pushed by Paramount Pictures to a ten-month delay for January 11, 2013. Co-producer Kevin Messick later said: "We’d finished it but we were still discussing adding a coda scene, which we were able to shoot. And there was always the consideration that Jeremy [Renner] had Avengers and Bourne coming out. So the studio made a wise strategic move in finding a good release date for us." Wirkola said that "the main reason is because they wanted to wait on Jeremy. He was cast before Mission: Impossible, Bourne and The Avengers. They wanted to wait until after those. I was, of course, disappointed then, but actually it helped because we came in under budget" and so the delay enabled him to re-add and shoot an additional scene that is set in the desert and which was cut from his original screenplay. The first trailer for the film was released on September 5, 2012.
The film was again delayed by two weeks to January 25, 2013 in the United States and Canada. A statement from Paramount suggested that the film was delayed to enable it to be released in IMAX 3D format. In early January 2013, illegal copies of the film were discovered in a major anti-piracy bust. Prior to its North American premiere, Hansel and Gretel: Witch Hunters was first released in Russia on January 17, followed by the releases in Indonesia and the Philippines on January 23, and in several nations across Latin America and South-East Asia on January 24. On the same day (January 25) it was also released in more countries of Latin America, with the other parts of the world to follow between January 31 and mid-March.
Home media 
The "extreme version" home release was announced by Wirkola to feature more comedy and "more guts and blood and gore, stuff that didn't make the [theatrical] cut." Hansel & Gretel: Witch Hunters will be released by Paramount Home Media Distribution on June 11 in its original theatrical cut and a longer, unrated cut "with never-before-seen footage that was too intense for theaters". It will be available in the versions: either a double Blu-ray edition or a triple Blu-ray 3D/Blu-ray/DVD limited edition, both coming with a UltraViolet digital copy and three behind-the-scenes special features ("Reinventing Hansel & Gretel", "The Witching Hours" and "Meet Edward the Troll"). In addition, just the theatrical cut of the film will be made available on a single DVD. The unrated version is 10 minutes longer (97 minutes long).
Box office 
Los Angeles Times predicted the film would become a "box-office bull's-eye, with pre-release audience surveys indicating an expected $30 million for the opening weekend in the United States. One week prior to the U.S. release, the film opened to a "huge" $8.6 million in Russia (the all-time 50th best opening in Russia/CIS), which made its international prospects look good, according to Yahoo! News. Entertainment Weekly predicted the film would "likely top the chart in its debut weekend" with $17 million; similarly, MovieWeb predicted $17.5 million. Paramount said they counted on $20 million. Speaking on January 31, Wirkola claimed the film had so far "opened in 19 territories and went to number one in 18 of them."
The U.S. initial midnight screening at selected theaters made an estimated $500,000, a "so-so result". The film took the top position on its first day's screening at 3,373 locations across the country, earning an estimated $6 million and suggesting a three-day total of $15–17 million, according to various estimates. The film topped the weekend's North American box office with $19 million, the first day's under performance blamed on bad weather on the U.S. East Coast. In addition, it earned $25 million in several other territories where it had already been released (representing about 40% of the international market). However, it held well during its box office run, dropping only 52% in its second weekend and 39% in its third and fourth. Audiences gave it a "B" CinemaScore grade.
On March 19, Reuters reported that while the film "was no blockbuster in the United States," it was much better received in foreign markets for a $205.9 million total haul to date, including $24.1 million in Brazil, $19 million in Russia, $14 million in Mexico, and $12.8 million in Germany.
Critical reception 
Hansel & Gretel: Witch Hunters was met with largely negative critical reviews, with a 15% approval rating and an average rating of 4/10 from the 114 reviews on Rotten Tomatoes. The site's critical consensus states: "Alternately bloody and silly, Hansel & Gretel: Witch Hunters fails as both a fantasy adventure and as a parody of same." Metacritic rates the film at 21 out of 100, based on 24 reviews. According to CBS, "critics have not been too kind to these witch-hunting siblings. Several reviewers have blasted the film for its thin story, deliberate anachronisms, and lack of funny dialogue." Messick commented: "We expected that. It’s an easy target! It’s a genre film." Renner said: "We knew this was never going to be a movie for the critics. I'm just hoping that people go along and can have some fun with it. It's pure escapism."
Claudia Puig of USA Today wrote "this convoluted hybrid of fairy tale and fantasy/action/comedy/horror aims for campy fun, but comes off tedious and blood-spattered." Andrew Barker of Variety called the film "inconsistently acted, and somehow both underwritten and overplotted," and while the action is "frequent and competently staged," it might feel too repetitive "as yet another witch is ripped apart limb from limb, sending yet another wave of viscera sluicing toward the camera." Similarly, Stephanie Merry of The Washington Post wrote that "after a while it’s easy to become numb to the repulsive sights and bored by action that once seemed intense and exciting" in this "rarely funny spoof that’s heavy on bone-crushing and blood-gushing," giving it one-and-half star out of four. Steven Farber of The Hollywood Reporter also wrote a scathing review, saying that while "Wirkola makes the most of the 3D technology", "the film is too fanciful to be truly revolting" for its gore effects and "despite its few wry jokes, the script is awfully thin." Roger Moore of The Charlotte Observer gave the film one-and-a-half out of four stars, writing that Wirkola "focuses on the fights and flings all manner of viscera at the 3-D camera as limbs are whacked off and heads and torsos explode. Less attention was paid to the story, and the dialogue is a tad over-reliant on the random f-word to land a laugh." Lou Lumenick of the New York Post gave the film zero out of four stars, writing that "nothing makes a whole lot of sense in this incoherent movie, whose director’s philosophy seems to be: When in doubt, cut somebody’s head off." Kat Murphy of MSN gave it one star out of four, comparing this "big-budget faux fairy tale about skanky witches" to a "downscale video game for dull-eyed teens happy to lap up lame wisecracks and lots of gore." According to Vulture's Bilge Ebiri, "if the similarly situated Abraham Lincoln: Vampire Hunter took itself too seriously, the problem with Hansel & Gretel is that it doesn’t quite take itself seriously enough." Keith Staskiewicz of Entertainment Weekly gave the film a C-, calling it "an intermittently fun, but overexcited and predictable mish-mash." Alicia Malone of IGN rated it a 4.5/10, stating "there are a few funny moments, but overall Hansel and Gretel: Witch Hunters is too similar to many films we’ve seen before." Calum Marsh of Slant Magazine lambasted the film's "sub-Tim Burton aesthetic" and wrote that "the result suggests A Knight's Tale as penned by Seth MacFarlane," giving it zero out of four stars. Scott A. Gray of Exclaim! praised some elements of the film, such as "lush and colourful art design that recalls a Guillermo Del Toro production, sound creature makeup and special effects, decently choreographed action scenes and a pair of leads who do their damnedest to sell the limp script", giving it a score of 4/10. Chris Knight of The Vancouver Sun called it a "mess of a fairy tale", expecting "a wiccan outcry at the film’s depiction — nay, endorsement — of the torture of witch-folk." Liam Lacey of The Globe and Mail gave it one star out of four, concerned how it "has an alarming number of females being strung up, burned, shot, decapitated and eviscerated."
Some reception of the film, however, was much more positive, in particular by reviewers for horror outlets. Michael Gingold of Fangoria gave it two-and-half out of four skulls, while Jonathan Barkan of Bloody Disgusting gave it four out of five skulls, stating it "isn’t a movie meant to scare or make you think but it is one of the most entertaining and enjoyable movies of its kind that I’ve seen in years." Scott Weinberg of FEARnet wrote that "aside from some very clunky editorial missteps in the film's second half, there's a good deal of wit, enthusiasm, energy, and amusing attitude to be found in the dumb-yet-self-aware Hansel & Gretel: Witch Hunters," all while noting that he is "not the type to act snobbish around a ridiculous film that obviously knows it's ridiculous." According to Ryan Larson of Shock Till You Drop, the film "is a mixed bag" but "fortunately, the lows don’t appear as often as you would think, and, "if taken at face value, Hansel & Gretel is well worth the view." William Bibbiani of CraveOnline, who criticized the film's inadequately "limp" marketing campaign, found the movie itself "inherently stupid" but in a good way, "played with humor, ultraviolence and anachronistic fetish." Cinema Blend's Sean O'Connell stated that the film is "often mean and nasty, but that's really its saving grace." Peter Paras of E! recommended this "super violent, pretty funny flick" for how it "revels in the mayhem". Tom Russo of The Boston Globe, giving the film three out of five stars, called it a "splattery fanboy fun. Preposterous, clearly, but fun." Jonathon Natsis of Filmink wrote: "Hansel and Gretel is not a 'film'. It's a 'movie', in all its unabashed, excitable glory...big on blood-soaked entertainment and low on pretension." Rick Florino of Artistdirect gave it four out of five stars, stating: "This has all the elements of a classic action flick, and it's destined for cult status. Welcome to the most fun movie of 2013." DVD Talk's Jamie S. Rich summed up: "Is Hansel and Gretel: Witch Hunters a good movie? Probably not. At least not in any way that is defensible by regular critical standards. Is it a hell of a good time? Absolutely so. Unabashedly so. That's all it wants to be."
Neil Geinzlinger of The New York Times wrote that "it may not stay in the public eye long because this movie is probably not going to put up Twilight-like numbers," adding that "the script doesn't give them enough of the witty lines that can elevate these types of movies to must-see status, which is odd, since the producers include Will Ferrell." Vince Horiuchi of The Salt Lake Tribune suggested that this film should have been made 30 years ago by Sam Raimi and starring Bruce Campbell, while instead "the Hansel and Gretel we’re left with runs out of its magic potion far too early to let us enjoy its wicked possibilities." A more positive comparison to Raimi and Campbell's Army of Darkness was made by Pete Vonder Haar of the Houston Press, who gave it three out of five "witch hazels" and wrote: "I'm not sure if witches are the next vampires/zombies, or if the hinted-at franchise potential has any legs, but this was a perfectly vulgar way to spend 90 minutes." Tim Grierson of Screen International wrote that Hansel and Gretel "works best as an unapologetic B-movie action flick" and "feels like a first film in a franchise that’s meant to set up the main characters and conflicts, which can then be fleshed out in sequels" but "the problem is that there isn't enough here to warrant a return trip to this semi-magical land." Richard Corliss of TIME agreed with this sentiment, stating that "one might be enough — too much, for some tastes."
See also 
- Hansel & Gretel Get Baked
- Hansel & Gretel
- Legends: The Enchanted
- The Brothers Grimm
- List of films featuring diabetes
- In Tommy Wirkola's original treatment, Gretel developed an eating disorder, but that idea was dropped.
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