Uma Casa na Colina

Film noir: French for 'black film', the term refers to a genre or style depicting a dark, corrupt, and/or violent world characterized by an expressionist mood and MISE EN SCENE. Many of these films also include violence and an underworld of some sort. Noir is equipped with many narrative conventions and twisted deceits. Most Film noir have stories set in impersonal suburban spaces that reflect the alienation and decadence of the characters. The city is a palpable presence taking on a menacing quality that threatens the character within it. Almost always, the protagonist is a male, in this films' case, it is the leader of the cast, a woman. Not just any woman, but the charming, gorgeous Helen Slater, in a role that seems to bring out an enormous, as well as outrageous aspect of her talent.

In a quiet, isolated community in the Hollywood Hills, silence is broken as a young woman is strangled to death in her pool. This story is everywhere people look, although not taken seriously by most, especially by an aspiring actress named Alex Weaver. Alex is determined to make her mark in the profession of power and beauty, but first, she must sacrifice the dreams, for a tacky day job at a cheesy Italian eatery. She is then persuaded to house-sit for a fellow waitress, in a lush setting that puts B.H. 90210 to shame. After playing on an exterminator, whom is not who he says he is, she is pulled into a real web of lies, deception, and passion. She broke all the rules, allowing a stranger into the house during the weekend...bad choice.

Helen Slater is a marvelous actress, and rightly so, as she holds the majority of this twisty tale on her shoulders, no wonder she played Supergirl nine years earlier. Michael Madsen is tough, and rugged, no surprise, as he worms his way into the house, with revenge on his mind. Soon, he and Slater are spending their time talking back and forth about their lies and convictions. Soon, the tension heats up so bad, they end up in the greenhouse performing unspeakable acts of passion amidst a beautiful collection of expensive flowers. Also in the film, is Jeffery Tambor in a down and out riot role as "Willy". Only time can tell as these characters are woven together to an ending resulting in madness and laughter.

This film is a Noir thriller on steroids. Helen Slater is a sure leading lady, but also an antagonist as well. She brings all her troubles onto herself, as she is her own worst enemy. Michael Madsen is, naturally, effective, and menacing as he pulls the audience into his clutches with every scene. His character brings forth flashbacks(another element in Noir) and the violence that ensues the last 45 minutes. Most of the film is not to be mistaken for a staged play-turned film. Most scenes are in fact, Slater and Madsen, uncovering layers of deep, thoughtful character study. Tambors "Willy" is also to be mentioned, as he becomes a strange force in the humorously crazy finale. No one, within the three main stars, can truly be trusted with one another, creating a real noir feel. All three initially lie about who they are at one point or another, and bring a homey house to a shatter-box.

The film also sees a soapy feel, as though it ran on a daytime dial. This is because Slaters 'Weaver' is up for a role, and creating the deception is all part of a formula that speaks in layers about asking ourselves if we really know what we are, or what life is, or where we are going. The film is indeed, a though provoking story, and well characterized by Slater and Madsen. Why it is not too recognized in these days is beyond my knowledge. I feel it should be more known, perhaps a more public screening on actual cable again, like ten years ago on HBO. To sum it all up, this film is a fast, dramatic, humorous, twisted thriller about truths, lies, and deception. It certainly beats any other satire of the like, and Helen Slaters' sexy performance opposite a game Madsen works well. Definitely worth the time!

Saved by an intelligent script and some good performances, A House In the Hills chronicles a housesitters descent into the maelstrom of violence and lies at the heart of the California Dream (well, the Southern California one, at least). It's not Htichcock, but it's miles better than your average Showtime filler. Jeffrey Tambor delivers a particularly rich performance as next door neighbour Willie, and the rest of the cast is up to the task. Apparently filmed in Luxembourg, of all places.

The plot is not all that bad for a low budget item. The acting is good. Three viewings and no boredom! Must say something for it. The underlying theme to me is that sometimes in life two people come together reluctantly and their life changes. They are not meant for one another or so they believe. But every now and then they wonder: "What if?"

This film is so awful, I just saw it on cable. Try to count the number of times you see the microphone in the upper part of the screen.. I promise you you haven´t seen anything like this... You see it more than the actors.

Have fun!

There is a murder in the Hollywood hills. Alex Weaver (Helen Slater) is a struggling actress working as a waitress. She replaces her friend to housesit for the needed cash. The cops are next door investigating the murder. The Rankins mistakenly take her bag. Exterminator Mickey (Michael Madsen) unexpectedly comes and assumes Alex to be the owner. He's looking to get something from Rankin and takes her hostage. Will Stryker (Jeffrey Tambor) is the Rankins' new neighbor.

There are a couple of scenes where it is a little too convenient. This should be an intense kidnapping thriller. However there are a lot of false notes being played. The music cues are wrong but that's not the half of it. Madsen is being too cool and lacks the intensity of a real criminal. The romance is awkward and fake like a bad romance novel. It's incredible that Mickey would fall for it. It's completely set up wrong. Jeffrey Tambor is a nice turn but the movie keeps trying to go back to the romantic tones. There is no chemistry to work with here. Just when the movie is coming to an acceptable end, it becomes silly as Helen Slater overacts unconvincingly.