Archives For The Open House

Here’s a round up of everything I’ve written in March.

Annihilation (2018, Dir: Alex Garland)‘A surprisingly deep film…’

Anti Matter (2016, Dir: Keir Burrows)‘A satisfying experience.’ 

Black Roses (1988, Dir: John Fasano) – ‘Death by stereo indeed.’ 

Death Note (2017, Dir: Adam Wingard)‘Death Note is a sluggish, tonally uneven film which cribs from the Donnie Darko style guide.’

Deliver Us From Evil (2014, Dir: Scott Derrickson)‘Should you see this in your partner’s Netflix queue, break up with them immediately.’ 

Game Over, Man! (2018, Dir: Kyle Newacheck)‘Unbelievably smug.’ 

Inside No 9 S4E1 Zanzibar (2018, Dir: David Kerr) – ‘A sparkling start to the series.’ 

Inside No 9 S4E2 Bernie Clifton’s Dressing Room (2018, Dir: Graeme Harper)‘Poignant piece of TV.’ 

Inside No 9 S4E3 Once Removed (2018, Dir: Jim O’Hanlon)‘…impish comedic behaviour.’

Insidious (2010, Dir: James Wan)‘…eerily like the dream world of Drop Dead Fred.’

Kangaroo: A Love Hate Story (2018, Dir: Kate McIntyre Clere, Michael McIntyre)‘A well-made and emotive film.’ 

Kangaroo: Love it or Cull it Interview with Kangaroo: A Love Hate Story director, Mick McIntyre 

Killer Barbys (1996, Dir: Jess Franco)‘It’ll be hard to find anyone who would wilfully cheer this one on from the sidelines.’

Leprechaun: Origins (2014, Dir: Zach Lipovsky) ‘No limericks, no green hats and no fun.’ 

Les Diaboliques (1955, Dir: Henri-Georges Clouzot) – ‘Buy it, treasure it, and never let it leave your side.’

Paranormal Entity (2009, Dir: Shane Van Dyke) ‘Boring.’ 

Prayer of the Rollerboys (1990, Dir: Rick King) – ‘I’d like to acknowledge the glacial romance between Haim and Arquette that is more comical than it is sexy.’ 

Prevenge (2016, Dir: Alice Lowe)‘The film manages to comfortably navigate through nihilism and comedy.

Red Sparrow (2018, Dir: Francis Lawrence)‘A rollicking spy thriller.’ 

See No Evil (2006, Dir: Gregory Dark)‘Thankfully, it ends.’ 

Serial Kaller (2014, Dir: Dan Brownlie) ‘Tepid Entertainment.’

Stepping Out of the Hundred Acre WoodInterview with Christopher Robin’s Director, Marc Forster

Straight on Till Morning (1972, Dir: Peter Collinson) – ‘Mean-spirited, gritty and with a gut punch of an ending…’ 

The Bat (1959, Dir: Crane Wilbur) – ‘They don’t make them like Vinnie anymore.’ 

The Killing of a Sacred Deer (2017, Dir: Yorgos Lanthimos)‘More accessible than The Lobster, but just as confronting.’ 

The Nanny (1965, Dir: Seth Holt) – ‘The Nanny demands a spot on anyone’s DVD shelf.’ 

The Open House (2018, Dir: Matt Angel) – ‘All the fast pace action of an iceberg.’ 

Unforgettable (2017, Dir: Denise Di Novi) – ‘Trundles along.’

Veronica (2018, Dir: Paco Plaza) – ‘Veronica is the kind of film you want to succeed, which makes its failure to do so even more disappointing.’

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The Open House

One of the many films desperate for attention on Netflix, The Open House is a limp house invasion film. Directed by Matt Angel, the film sees Logan Wallace (Dylan Minnette, 13 Reasons Why) and his mother, Naomi (Piercey Dalton) housesitting a large manor in the mountains. It slowly – and I do mean, slowly – becomes evident that there’s someone else lurking in the basement.

With all the fast pace action of an iceberg and stacking up the clichés when it should be stacking up the tension, The Open House tries to have its cake and eat it with an ending that is both nihilistic and too little too late.

Paranormal Entity

The main criticism of films nowadays is, ‘We’ve seen it all before’. Often, this happens when a film’s ideas, themes and execution is so old, cave men gave up writing it on the wall. In the case of Paranormal Entity, we have literally seen this all before. A demon terrorises a family for 80 very un-fun minutes before throwing everything at with two minutes of gore, breasts and wobbly camera work.

Hawked out around the same time as Paranormal Activity, there is very little about this film that doesn’t make the whole genre of found footage bow its head and say, ‘I’m sorry.’ Inane, derivative and most criminally of all, very, very boring.

Insidious

A family is plunged into tragedy when their son falls into a mysterious coma and they become plagued by paranormal events. Directed by James Wan, Insidious starts off promisingly, before transforming into a party bag of shocks and jolts.

And like a party bag, it’s delicious in small bites but becomes overbearing in one go. It’s also hard to shake the idea that the third act is eerily like the dream world of Drop Dead Fred.