Today: February 25, 2024

House At The End Of The Street

House At The End Of The Street is firmly filed under real estate properties you don’t want to invest in.

House At The End Of The Street is firmly filed under
real estate properties you don’t want to invest in.
It’s a
general rule in films that if a property is just referred to as ‘house’ it
normally spells death, haunting or unpleasant neighbours. Silent House, The Last House On The
Left, House On Haunted Hill and of course ‘80s favourite House, are proof that
in horror; it’s not all location, location, location.

Of course the
property market taking a dip due to a murder is acknowledged when Elissa (Jennifer Lawrence) and her mum Sarah (Elisabeth Shue) are able to rent a
fancy house because “Mr. and Mrs. Dead People” where murdered in the house
opposite. Four years prior
daughter Carrie Anne killed her parents before disappearing. Now remaining son Ryan (Max
) is shunned by the local community but sparks up a friendship with
Elissa. The problem is Ryan is
hiding a dark secret in the House At The End Of The Street.

While it might
look the part, all sepia colour saturated, House At The End Of The Street fails
to truly live up to the billing of horror thriller. There are occasional shocks, one in particular seems to have
been lifted verbatim from The Silence Of
The Lambs
, but for the most part the horror is pedestrian at best. The thriller aspect is
none-existent. While the rest of
the community might speculate as to what really happens across the street we
get to see it all, meaning any mystery is nullified and by the time the third
act twist kicks in you’ll have either guessed it or predicted something more
clever than is actually offered.

An upside to this
property is a break from the horror norm of layering the characters beyond the
bimbo running away from a maniacal killer. Shue and Lawrence are a good match for mother and daughter
and certainly lend a believable teen-angst prickle to their relationship. Lawrence continues to dazzle as a screen
presence and her burgeoning relationship with the mysterious Theiriot next door
is sincere while being the source of much of the tension, albeit of a sexual
rather than mysterious nature.

British director Mark Tonderai handles proceedings well,
allowing his lens to linger in mysterious ways but he’s let down by a haphazard
script. From a story by Jonathan Mostow, the man who gave us
the superior horror thriller Breakdown,
House’s plot development feels cack-handed, never flowing organically from one beat
to the next but rather stumbling, a shrouded fog of obvious secrecy, into the
dark and predictable climax.

House At The End Of The
Street is a piece of real estate horror you might dabble with the idea of but
it’s unlikely to grow in value and this is one property you suspect might suffer
from mould, rapid depreciation and, most importantly, is a bit of a damp squid.

Alex Moss Editor

Alex Moss’ obsession with film began the moment he witnessed the Alien burst forth from John Hurt’s stomach. It was perhaps ill-advised to witness this aged 6 but much like the beast within Hurt, he became infected by a parasite called ‘Movies’. Rarely away from his computer or a big screen, as he muses on Cinematic Deities, Alex is “more machine now than man. His mind is twisted and evil”. Email:

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