e’re different.” For 200 years, the long and distinguished line of Owens family members have been witches – possessors of powers that instill fear in others, often resulting in hangings. When matriarch Maria (Caprice Benedetti), who manages to survive just such a public execution, curses the bloodline due to a spurned lover, it’s destined that no man can survive being married to a descendant.

When children Sally and Gillian go to stay with their Aunt Frances (Stockard Channing) and Aunt Jet (Dianne Wiest) – after their parents pass away – they learn about their lineage, spellcasting abilities, and how they’re doomed to have future beaus die of broken hearts. That doesn’t stop adult Gillian (Nicole Kidman) from having boyfriends, however, though Sally (Sandra Bullock) prefers to remain alone, planning for a happy life as an old maid. Despite these adolescent intentions and paths, Sally is the one to marry first – and even have children – while Gillian is anxious to get away to a place where their family isn’t ostracized for unshakable rumors of witchcraft. Sure enough, the delayed yet inevitable omen of a chirping beetle marks the arrival of romantic tragedy. “It was the curse, wasn’t it!”

With a prominent popular-music soundtrack, the stage is set for melodrama, with a significant lean toward lustful entanglements, sisterly love, and rebellious mishaps. And the use of magic is certain. Moderately dark but with a marked playfulness, even violent moments are tinged with humor, especially when supernatural resuscitation transforms into murder (something of a more comedic vision of “Cemetery Man”). But the majority of it is mischievousness, meddling in love lives, and wee-hour revelry; the bulk of the preternatural shenanigans are entirely frivolous – lending to something of a tonal mishmash.

“Be careful what you wish for.” It takes a while before a sincerer haunting poses a conflict that requires additional witchery and teamwork, but it’s comparably handled with an eye for romance. It’s all something of a teen adventure for girls, even if it involves slightly older protagonists. The introduction of a special investigator (Aidan Quinn) to suggest consequences for transgressions – occult or otherwise – also moves toward a love-interest subplot rather than the realities of straightforward crimes and sincere justice. It’s a sticky situation, since a felony has been committed; yet the inclusion of an otherworldly nemesis sets up an outcome that can’t be based in any sort of sensibility (paired with ambiguous dangers and unexplained elements of fantasy). It may be understandable, but it’s still a stretch – one in need of last-minute coincidences, spontaneous solutions, and unconvincing reactions. It’s never quite as silly as “Hocus Pocus,” but its entertainment value, despite targeting a marginally different audience, is just as limited.

– Mike Massie