turned to locations in Massachusetts. Principal photography began on July 14, 1986, and took place over the course of six weeks in Cohasset and nearby Massachusetts towns, such as Marblehead and Scituate. Castle Hill in Ipswich, Massachusetts, was used for the exterior of the Lenox Mansion, while the lobby of the Wang Theatre in Boston stood in for the main hall. Other interiors were filmed at the Greystone Mansion in Beverly Hills, though the swimming pool and Daryl's library were sets built on the Warner Bros. backlot. Prior to filming, a small carving shop led by woodcarver Paul McCarthy was commissioned to hand-carve all the wooden signs for the businesses shown in the movie, including the newspaper where Michelle Pfeiffer's character worked – The Eastwick Word. Music The musical score for The Witches of Eastwick was composed and conducted by John Williams. A soundtrack album was released by Warner Bros. Records in 1987. Reception Critical response On Rotten Tomatoes the film has a rating of 66% based on 92 reviews. The site's consensus states: "While devotees of John Updike’s novel may want to put a hex on George Miller’s cartoonish and effects-laden adaptation, Jack Nicholson lends enough decadent devilry to make this high-concept comedy sizzle." On Metacritic, the film has a score of 67 out of 100 rating based on reviews from 11 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. The Washington Post wrote that "Hollywood pulls out all the stops here, including a reordering of John Updike's original book to give you one flashy and chock-full-o'-surprises witches' tale." Janet Maslin in The New York Times commended the "bright, flashy, exclamatory style." Variety described it as a "very funny and irresistible set-up." Some critics thought that the last part of the film spiraled into ridiculousness. The Washington Post wrote that the second half "lost its magic and degenerated into bunk." According to The New York Times, "beneath the surface charm there is too much confusion, and the charm itself is gone long before the film is over." Time Out wrote that "the last 20 minutes dive straight to the bottom of the proverbial barrel with a final crass orgy of special effects." Roger Ebert in the Chicago Sun-Times gave the film three-and-a-half stars out of four, acknowledging that "the movie's climax is overdone" yet