The House of the Devil

Well then, what do we have here? A modern horror film placed in the 70/80s era. I already like Ti West thinking. With most Horror films today being god damn awful, it refreshing to see one which pays homage to the classics while trying to be unique. From start to finish, the film is littered with classic horror references. The opening titles design, the babysitter, Satanism. Even some parts of the music score is identical to the famous Halloween score.

Now then, this film is very slow. It takes it time to build up, in fact, it takes the main character 30 minutes to reach the house. Thank god then that Samatha was likable. Now, it doesn't matter how slow a film starts, i mean the shining is regarded as slow but there one big contrast between the film's build up. One goes somewhere the other doesn't . Once we finally get to the house, we do nothing more than watch Samatha stroll around for the rest of the film.

West atmosphere is perfect, his camera work was great, the suspension was brilliant but nothing ever came from these very few moments. The suspense just keeps building , West keeps on adding more fuel onto the fire until finally he runs out and the credits starts rolling . Very little happens and when we do reach the final act, it ends up being boring and forgettable.

This film looks great but sadly , the script is poor leaving a potential film into a easily forgettable one. If you particularly enjoy watching people do nothing for a hour and 10 minutes, then this is highly recommended

House of the Devil is a film that delves the audience into an atmosphere of a classical slasher film. The scenery and style of the misc-en-scene throughout the film heavily mirrors that of the ideal 80s slasher such as Halloween. The scenery in the film is one of its defining characteristics that help this movie stand out from other modern day horror films that rely heavily on special effects.

The overall best aspect of this film is its growing suspense. This is not a movie for those who love gore and constant assault on the senses. For the grand majority of the movie the audience held down by so much expectation it becomes almost unbearable. The audience grows attached to the very attractive main character (Jocelin Donahue) who despite her and her friend's best efforts to be sensible throughout the film falls victim to classic horror movie stereotypes. This attraction and connection to the main character as the suspense continues to build at a grueling pace make this part of the film truly great.

The excellent use of growing suspense throughout the film is also its biggest downfall as the audience is filled to the brim with expectation only to have that feeling shattered by a very rushed ending. The ending assaults your senses too fast and is too unbelievable. The audience becomes disconnected as the realistic suspense of the majority of the film at this grueling pace is replaced by an unrealistic ending that happens all too fast.

Another positive aspect of this film that should be mentioned is the comic relief of the best friend (Greta Gerwig) delivering excellent amount of fun in the face of this growing suspense.

Overall the majority of this film has all the aspects of a classical slasher of growing suspense. However, the pacing at the end and the disconnect from this suspenseful first half of the film served as a large disappointment.

In the 1980s, college student Samantha Hughes (Jocelin Donahue) takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret.

I absolutely love that director Ti West did everything he could to make this come off as a 1980s movie -- the style, the 16mm camera, releasing the film in a clam shell box (I am surprised they actually allowed this last one). Opinions vary, but I think it is safe to say the (modern) golden age for horror was the 1980s. And here we are, adding another 80s film to the list (sort of).

West also managed to hire genre actors Tom Noonan, Dee Wallace and Mary Woronov for the picture, which I think fans appreciate. Larry Fessenden served as a producer, and this may be the best project Fessenden was ever attached to.

What I find as strange is how this film is very highly rated by people. Not that it is a bad film. I enjoyed it. But I think it is interesting that the film gets a lot of credit for working in the 1980s style. Had this identical film come out in the 1980s, it may have hardly registered among its peers. This film rides the wave of nostalgia... and it rides it well.

Cash-strapped student Samantha (Jocelin Donahue) accepts a 'babysitting' job at the home of elderly couple The Ulmans (Tom Noonan & Mary Woronov), despite plenty of warning signs that something is not right with the gig: she's being offered far too much money for the job; Mr. Ulman and his missus are waaaay too creepy; and there isn't even a child to look after!

Masquerading as a movie from the golden age of the slasher (late 70s to early 80s), The House of the Devil has been designed to appeal to old-school horror fans who like their films to take the time to develop atmosphere and build tension. Utilising convincing lo-fi visuals, a cool synth score, a retro title sequence, and neat period details (Farrah Fawcett flick hairstyles, a huge Walkman personal stereo, a rotary telephone with a cord), director Ti West painstakingly recreates the look and feel of the era. Unfortunately, he pays a lot less attention to the pacing and, after an hour of extremely slow build-up during which we get a few well crafted moments of tension but an awful lot of uneventful padding, the film erupts in a clumsy, rushed and chaotic last act that feels like it was grafted on from an entirely different movie.

With a tad more time spent rounding out his antagonists, a bit more detail about their nefarious plans, and a little less pizza-eating, West might have had something really special on his hands: a truly effective homage to grind-house horror. Instead, The House of the Devil proves to be a rather frustrating exercise in style over content.

Ti West, who directed the underrated Cabin Fever 2: Spring Fever, is a name to watch out for. The House of the Devil, although not fantastic, proves that West has an excellent eye for visuals, details and creating suspense. This film feels as though it has come directly out of the 80's, more like a lost film of some horror director like John Carpenter or Tobe Hooper than a second feature by a new millennium director. From the opening and end credits, to the walkman, fashion, soundtrack and the slightly faded visuals, even the storyline, centred on babysitters and Satanists feels like the movie belongs back in the 80's.

Samantha (Jocelin Donahue) is a college student who needs money fast. Her roommate is a disgusting slob, and Samantha is a neat-freak, lucky for her she has found an apartment, but needs money to pay the rent. She stumbles across a babysitter advert at the college and quickly applies. Soon enough she is meeting with Mr. Ulman (Tom Noonan) and his odd wife Mrs. Ulman (Mary Woronov) on the night of the lunar eclipse. Straight away it is obvious to us, and Samantha's friend Megan (Greta Gerwig), that this job is a setup for some sinister goings down (hence the title 'The House of the Devil').

The first 40 minutes of this movie are excellent. Samantha is a character we can care about and a sense of dread permeates the proceedings. However, once the babysitting starts very little happens and the movie slows to a halt which ultimately destroys the fantastic mood setup. Events pick up at 75 minute mark, but with only 15 minutes left the final act is rushed with no time to generate any scares (apart from some nice gory deaths).

The cast do an excellent job, the exchanges between Mr. Ulman and Samantha are deliciously creepy, and the house itself is reminiscent of the Amityville house. The actual story is quite good, nothing new or exciting but a simple little devil-themed yarn with a little twist. Unfortunately it is the pacing which is this film's undoing, and it is a shame because it really could have been an amazingly good film otherwise.

3½/5