An American Ghost Story, Sinister, The Shining — there are a spate of movies about writers seeking solitude in a house, only to find the exact opposite. House is different it in that it throws in a dash of vetsploitation flavor, while employing practical monsters rather than the usual phantasmagoria as the personal demons.
House’s protagonist Roger Cobb should’ve heeded this advice: Don’t go in the house (also the title of a fab pyro-horror).
Where “horror has a new home,” House features that 80s genre staple: the cheesy prologue. Young Rog walks into a bedroom to find his aunt has hanged herself (it’s actually quite an affecting scene, as the old lady is creakily swinging to and fro).
Undeterred, Rog grows up to occupy the house as an adult — a successful trash novelist looking to get serious with a memoirs detailing his experiences in ‘Nam.
These horror people. When will they ever learn? Never rent bad Mojo domiciles, even if they seem like a steal, even in a tight rental / buyers’ market. Nothing good will ever come of it — unless you flip it real quick before you’re sucked into the Nether World.
So, what distinguishes this house, from any other on the market? There’s its foundation, built on a top-notch cast that includes William Katt, George Wendt, Richard Moll, and Kay Lenz. Wendt (Norm from Cheers) is the jovial neighbor who happens by to ask if everything’s alright at the Cobb house (Rog has been dressing in army fatigues and has set up camera equipment to capture a monster lurking in the closet). Moll, the towering bailiff from TV’s Night Court, plays Rog’s Vietnam war buddy who appears in flashback (At 6’8, there’s one infantryman who’d be quite the sitting duck for the Viet Cong).
Ultimately, House is a middling fun, tongue-in-cheek haunted house creature feature. Similar in sensibility to Video Dead, it’s solid if unspectacular sick day viewing.
**3/4 (out of 5)
[Check out our podcast discussion of House on the Really Awful Movies Podcast]