Doom House

Sure, it's low-budget. There are some minor glitches, but this film exudes something every Hollwood big-wig could stand to learn again: A sincere passion for film making.

Look at Kyanka as the tortured widower Linux. His role is nothing short of multidimensional; his devotion to the craft should be admired by even the best classical actors. Listen to the beautifully-crafted soundtrack as it explores every powerful emotion this film presents to its viewers. Feel the blood, the sweat, the tears that obviously went into this, something that truly describes the term "magnum opus." The worst thing about this movie is that it is low budget, and for that very reason, there may not be another Doom House for me to watch over and over again. If any of you bigshots are reading this, please, hear me out: Rich Kyanka and company are all geniuses and worthy of your millions. Let these men reopen for you the path to the golden days of film-making.

Doom House is a chilling polemic on the governing mindset of post-9/11 America. In their film debut, Kyanka and Bowen masterfully weave coherent socio-political commentary with well-crafted horror in much the same way that Jacobs and Young mixed controversial political issues with comedy in their tragically short-lived and misunderstood television program Dinosaurs.

From the very outset it becomes obvious to the viewer that this is not going to be a standard blood & guts slasher-style horror film, no, this film bucks the stereotypes so inherent in the present-day horror genre.

These men respect their audience. These men display a willingness to provide their audience with more than merely scenes of crowd-pleasing, money-making gore. Like Vincent Price and Roger Corman before them, Kyanka and Bowen are unafraid to create a thinking-man's horror film, a film that is not only unabashedly low-budget, but a film that revels in its lack of capital and in fact is able to rise above its monetary restraints.

In spite of what many would have you believe, it is clear that there is no truly evil character in this film, there is no malice, there is only desperation. Within the constraints of a low budget and perhaps as a result of those limitations, Kyanka and Bowen craft characters with depth, with believable motivations, depicting both sides of the conflict as victims of circumstance all the while avoiding the uncomfortable territory of moral equivalence. Not since John Hughes' 1986 classic Ferris Bueller's Day Off have I found myself rooting for the villain as much as I did for Linux's opponent in Doom House.

In an era where the average moviegoer craves answers, Doom House dares to ask questions. In the war between East and West, between religion and secular society, between tradition and progress, is there such a thing as right and wrong? How should a person deal with loss, by suffering the painful familiar or by beginning life anew? Do the victims of history have a right to seek compensation from the innocents of another generation? What does it truly mean to be doomed? Unable to reach a wide audience due to the limitations of its budget, unseen and in fact unheard of by the majority of potential viewers, Doom House is nonetheless a classic piece of intelligent, finely-crafted cinema.

Doom House is not to be missed!

This film is truly a low-budget masterpiece that should have the major studios "shaking in their boots." The compelling story of a young widower and his agonizing descent into madness -- prompted by the tenacious haunting of a nefarious figurine -- is propelled along by the chilling soundtrack, breathtaking special effects, and insightfully clever dialog. Richard Kyanka shows a unique ability to multitask as writer, director, and lead actor.

A true highlight of this film, however, is the brilliant work of Kevin Bowen, portraying a police officer who befriends the protagonist, but whose motives soon come into question. Undeterred by any mere plot twist or catflap, Bowen hits every mark and delivers every line with unparalleled pathos. Moviegoers should expect future brilliance from this young and versatile actor, who also put in some work as the film's co-director.

This is not a film to be missed, and we can only hope it will represent the beginning of a new era in the world of low-budget, independent film-making.

It's not often that one is treated to something as thought provoking and entertaining as Doom House, but that's what we've come to expect from Kyanka Bowen Productions.

The story begins with a scene of Reginald P. Linux arriving at his new house. Ever since his wife passed away, he had been looking for the perfect home to start fresh and leave behind his heartbreak and depression.

As the story unfolds, it becomes apparent that the house he had picked may not have been the wisest choice. Doom and terror follow, as Reginald P. Linux struggles to survive as things become stranger and stranger in his newfound home. I jumped out of my seat countless times while watching! With several plot-twists, suspenseful surprises, and special effects on par with some of the greatest films of the year; This movie is a no brainer must-have flick that belongs on the DVD shelf of anyone with a pulse. And don't let the budget fool you, this is one quality movie that is definitely worth your time and money.

It astonishes me how well this short film (much-anticipated in the Appleton film circuit) was able to deliver the fresh goods. "Doom House" is able to simultaneously shock the viewer with breathtaking cinematography, while at the same time forcing them into the world of Reginald (Kyanka). It is usually the case that a film's director will be caught up in creative eccentricities, and so, overplay one aspect of production, and fail to take care with another: the 'style vs. substance' effect, if you will. But this film certainly doesn't fall prey to that, as every single shot sings out the same, poignant message: and neither does its well-roundedness make it mediocre.

The only drawback is that Mr. Kyanka anticipates the sequel by putting on a performance that is reminiscent of Guy Pearce.