Table Of Content
The story is set in a world populated by anthropomorphic rats, and the house is now settled in a developed city street and about to go up for sale. The developer renovating the house recently laid off his entire construction crew to reduce costs and must do all the work himself. Discovering the house has been infested by fur beetles and larvae, he uses copious amounts of boric acid to get rid of them, to no avail.
Audience Reviews
In a world that suffered an apocalyptic flood and is populated by anthropomorphic cats, the house is surrounded by water which keeps rising. Rosa, the landlord who cherishes the memories of her days growing up in the house, dreams of restoring it to its former glory. However, she struggles financially; and her only tenants, fisherman Elias and hippie Jen, do not pay rent despite her insistence; she consistently ignores their attempts to address the rising water. Back home, Frank convinces the Johansens to start an underground casino at his house to raise money for Alex's tuition and to help him get his wife back. In another community town-hall meeting, Bob becomes suspicious at the low attendance and suspends the meeting to launch an investigation. Back at the Johansens' casino, Frank discovers that one of the gamblers, Carl, is counting cards.
Film
What’s most interesting about The House is how each story offers a different riff on this theme. The first two chapters lean into being creepy, particularly their unsettling endings, but while the first is more of a slow-building dread, the second is much more tangible. Meanwhile, the final chapter, despite starting out quite bleak, ends on a surprisingly hopeful note. The third and final story of The House, directed by Paloma Baeza, ends, thankfully, on a more uplifting note. A landlady named Rosa (voiced by Susan Wokoma) is determined to pursue her life-long dream of fixing up a crumbling but beautiful Victorian home, despite the fact that a devastating flood has driven away almost all of her residents.
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Fewer than 10 films make up the legit “Amityville Horror” canon, and even that number is up for debate. Like the word “Paranormal,” “Amityville” has become more of a low-effort synecdoche for generic possessions of things (“Amityville Vibrator”), holidays (“Amityville Christmas Vacation”) or locations (“Amityville in Space”). The films are mostly comedic, have micro budgets and have little continuity with the original. Director Will Gluck told The Hollywood Reporter that he wanted the film set in Sydney because he had “really fallen in love with the city” and liked it so much he moved his family there. This section includes characters who will appear or have appeared in more than two films in the series.
Here, Ferrell and Poehler—fellow former “Saturday Night Live” cast members who also co-starred in “Blades of Glory”—barely seem to know each other, much less enjoy any sort of chemistry. On an ill-advised trip to Las Vegas with their gambling-and-porn addicted pal, Frank (Mantzoukas), they hatch a scheme to create an underground casino in Frank’s house. He’s in the middle of an ugly divorce, and his angry, estranged wife (Watkins) has cleared out much of the furniture, so there’s plenty of room for a craps table and a roulette wheel and such.
The only constant is the house, which is always recognizable despite superficial changes over the years. The family is quickly seduced by the extravagant amenities—the food that appears on massive dining room table, the electricity that provides full illumination. But young daughter Mabel (Mia Goth) has more trepidation, as she starts to witness the stranger aspects of its construction, like the zombified workers, who toil in the darkness, and suddenly take away the staircase at night.
When the sisters finally reunite with their parents, they find Raymond and Penny turned into furniture—Raymond into a chair and Penny into curtains. Using the curtains to climb out a window while their parents burn alive, Mabel and Isobel escape before watching the smoking house from a distance as the sun rises. During their visit to Bucknell University, husband and wife Scott and Kate Johansen warn their daughter of the dangers of being in college. Alex acknowledges her parents' warnings and expresses her interest in attending the same university her parents went to. Alex gets accepted to the university, which the Johansens expect to be funded by their community's scholarship program.
The Fall of the House of Usher movie review (2023) - Roger Ebert
The Fall of the House of Usher movie review ( .
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Because they hardly feel like people—about halfway through, I realized I didn’t even know their characters’ names—the extraordinary scheme they’ve concocted for themselves makes no sense and has no momentum. It also has no laughs, or at least precious few, which is why a movie with this caliber of star power is being sneaked into theaters without being shown to critics ahead of time. At his wit's end, the developer tries to use the boric acid on the couple, but he inhales a mouthful and faints. The couple picks the developer up from the hospital and brings him home, where their family welcomes him back, many of them now sporting additional limbs. The final scene shows the family ravaging the inside of the house—climbing up the walls and chewing through everything. The developer, having regressed to animal-like intelligence, briefly emerges from the remains of the oven to eat garbage before retreating underground.
Raymond jumps the opportunity as a means of status, to have the nicest house in the area, and make others jealous. On the day of the viewing, the guests are unimpressed by the house, but a strangely proportioned couple remains, expressing a strong interest in buying the house. Over the next few days, the odd couple remain firmly settled in the house, the bugs return in force, and the bank keeps demanding repayment of the developer's business loan. The developer decides to stop indulging the couple, only for many members of their family to show up wanting to enter the house. He tries to call the police, who instead caution him for his constant, overly familiar phone calls to his dentist, who the film had led the audience to believe was his romantic partner. The House is a 2017 American comedy film directed by Andrew J. Cohen, and co-written by Cohen and Brendan O'Brien.
As the least bleak of the three shorts, this one shows how the promise of a house has a seductive power, representing a desire to cling to the past even when the floor below you is slowly flooding. It’s also another striking feat of stop-motion animation, with lifelike sets and clothes that practically breathe as the furry characters move. The foundation for the anthology is established by the gothic cloth animation of Emma De Swaef & Marc James Roels, who previously orchestrated the colonization mini-anthology short “This Magnificent Cake! ” Their eye for towering sets, intricate stark detail, and characters with tiny eyes and mouths continues here, with a slow burn tale about a family that suffers from a Faustian homeowner bargain. The father Raymond (Matthew Goode) makes a deal with “an architect of great renown” that he runs into the woods named Mr. Van Schoonbeek (Barney Pilling), who offers them a new mansion and furnishings, for free. The only catch, that they are aware of at least, is that they must give up their current home.
Emerging from the vision, she sees Jen and Cosmos sailing away, calling for her to join them; but the boat is too far away. Remembering a large lever Cosmos had built, she pushes it, transforming the house into a seaworthy vessel. Encouraged by Jen, Cosmos, and a returning Elias, Rosa takes control of the house ship, escaping as the floods destroy the surrounding foundations, and the four sail out into the ocean. After the family moves in, Mabel notices several peculiar things about the house and the workers constantly refitting it, but her parents are mesmerized by the house and its luxuries. Raymond becomes increasingly obsessed with the house's fireplace, which he constantly fails to light up, while Penny spends more and more time sewing drapes. Mabel becomes further put off when her parents don attire designed by Van Schoonbeek which resembles the furniture they adore (a chair and curtains).
Things get even stranger, and more visually striking, when the parents are gifted clothes that look a lot like pieces to an ornate couch. It’s an effectively spooky short, one that gets a great deal of intrigue out what is unfolding in the shadows, prefacing the house as a nonsensical trap. Exploring the house one night, Mabel and Isobel find themselves lost in the maze it has become, eventually stumbling upon Thomas. Drunk and ashamed, Thomas confesses that he is an actor following a script provided by Van Schoonbeek. Meanwhile, Raymond is finally able to light a fire by burning the family's old possessions, including his father's chair and Mabel's dollhouse.
The cliff-top park is open to the public and has fitness stations, a playground, and some shaded areas. The 20th-century architectural landmark serves as a gorgeous backdrop for big moments, including the end scene when Ben passionately kisses Bea, who is standing at the top of the steps. Whether you're a fan of stop-motion animation or just looking for something deeply, alluringly weird, The House will feel like home.
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