Introduction: Bewitched, Bothered, and Bewildered
Some movies sneak up on you. Spellbinder is one of those late-’80s occult thrillers that didn’t quite make a splash on release but found its home on late-night cable — the kind of movie you half-remember seeing between infomercials and commercials for psychic hotlines. And yet, here it is, casting a strange, seductive charm that lingers like incense in a velvet-curtained room.
Is it great? Not exactly. Is it fun, sexy, and a little trashy in the best way? Absolutely. And let’s not pretend why we’re really here: Kelly Preston. In her prime. Radiating so much jaw-dropping beauty that the rest of the plot could be about a cursed toaster and you’d still be watching.
Plot: Just a Nice Guy Helping a Witchy Damsel… Oops
The story begins with a Los Angeles attorney, Jeff (Tim Daly), who intervenes when a woman is being assaulted in a parking lot. The woman? Miranda (Kelly Preston), who looks like she just stepped off a shampoo commercial for witches. Naturally, Jeff takes her home — you know, like any responsible adult would do with a stranger being chased by occult forces.
But Miranda isn’t just a victim. She’s on the run from a secret coven, she says. She wants out. Of course, things get steamy, and Jeff finds himself in the middle of a sexy supernatural triangle where logic takes a backseat and libido drives straight into hell’s driveway.
There are ominous warnings, weird symbols, chanting in candlelit basements, and a cult that somehow owns more property than a real estate mogul. It’s all goofy, pulpy nonsense — and it’s fantastic.
Kelly Preston: The Spellbinder Herself
Let’s not beat around the sacrificial altar — Kelly Preston is the movie. She doesn’t just play Miranda; she is Miranda. All seductive glances, whispered confessions, and that slow smile that says, “I might be lying, but you’ll still follow me into this pentagram.”
She’s so stunning in this film it should come with a disclaimer: Warning: prolonged exposure to Kelly Preston may result in spiritual disorientation and questionable life choices. The camera loves her. The lighting loves her. The audience falls headfirst into her spell, much like poor Jeff.
You could argue the plot is just a thin excuse to put her in flowing robes, lacey nightgowns, and witchy lighting. And you wouldn’t be wrong. But hey, no complaints here.
Tim Daly: The Poor Fool With a Law Degree
Tim Daly plays Jeff, the lawyer who gets roped into all this black magic nonsense. He starts off skeptical, of course — because who wouldn’t question whether their new girlfriend is being hunted by robed Satanists? But by the time he’s sneaking into cult meetings and seeing his reflection in ancient blood pools, he’s in deep.
Daly gives it the old college try, balancing lawyerly stoicism with growing paranoia. But let’s be honest: he’s the audience stand-in. We’re all just hanging out, wide-eyed, wondering what Miranda’s really up to while secretly hoping she isn’t evil — and also kind of hoping she is, because that would be hotter.
Tone: Trashy Class Dressed in Occult Robes
Spellbinder isn’t scary in the traditional sense, but it has that soft-focus, dreamlike quality that made late-‘80s supernatural thrillers so deliciously weird. It’s all candlelight, whispered warnings, and strange psychic premonitions. Like Eyes Wide Shut but shot on a MacGyver budget.
And there’s a wonderful layer of sleaze woven through the mystical pretensions. You know how a film can be both classy and trashy? This one walks that tightrope in high heels and a low-cut dress. It’s like a Harlequin romance novel met a Satanic Panic VHS tape.
The Cult: Satanists With Real Estate Portfolios
Let’s talk about the cult. They’re not your average robed loonies. No, these Satanists have money, connections, beachfront property, and the organizational skills of a Fortune 500 company. Honestly, they’re more competent than most governments.
They’re also pretty stylish for a bunch of soul-stealers. And their long con? Chef’s kiss. No spoilers, but let’s just say they’ve been planning things longer than some people stay married. It’s manipulative. It’s dark. It’s weirdly satisfying.
And yes, there’s a twist — one that makes you slap your forehead and say, “Of course.” Because nothing says ‘80s occult cinema like a man learning he was the sacrificial goat all along.
Direction and Cinematography: Shot Through a Hazy Haze of Haze
Director Janet Greek (best known for her TV work) gives the film a smooth, ethereal look that matches the seductive themes. The whole thing feels like a perfume ad interrupted by a black mass. There’s a soft glow on everything — including the threat of demonic murder. Very on-brand for 1988.
The film doesn’t go for gore or jump scares. Instead, it lets you stew in paranoia. It whispers in your ear rather than screams in your face — and for the most part, it works.
Dark Humor: Sometimes Love Means Never Asking If She’s Hexed You
Let’s be real — there’s plenty to laugh at here. The legal subplot where Jeff tries to act like he’s still living a normal life while his sex life turns into a witchy fever dream? Comedy gold. His coworkers notice his strange behavior, and you half-expect someone to say, “Jeff, are you being hexed again?”
Also, watching him ignore every red flag because the girl is hot? That’s a cautionary tale as old as time. Like, yes Jeff, she bathes in moonlight and quotes ancient texts, but did you really think she was just into you for your briefcase?
Final Verdict: Sexy, Silly, and Spellbinding in All the Right Ways
Spellbinder isn’t high art. It’s not even high horror. But it’s fun. It’s atmospheric. It’s dripping with candle wax, satin sheets, and a general sense of “Oh no, I think she’s going to sacrifice me.”
And if for no other reason, it’s worth the watch for Kelly Preston, whose presence alone elevates the film from forgettable rental to cult curio. She doesn’t just cast a spell — she is the spell.
Rating: 3.5 out of 5 Blood-Soaked Altars — with bonus points for Preston’s wardrobe and general otherworldly hotness.