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Hollywood’s loyal opposition | by maryann johanson

House at the End of the Street (review)

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House at the End of the Street red light Jennifer Lawrence Max Thieriot

I’m “biast” (pro): love Jennifer Lawrence

I’m “biast” (con): very tired of unimaginative horror movies

(what is this about? see my critic’s minifesto)


As I awoke myself* and stumbled from the multiplex after my public screening of the not-screened-for-critics** House at the End of the Street, I tweeted that the scariest thing about the flick is wondering what on Earth possessed the awesome and powerful Jennifer Lawrence to take on such a role. And I was almost instantly alerted, by my wonderfully clued-in Twitter followers, to the fact that this movie actually predates The Hunger Games. In fact — as I discovered during some Googling — shooting on House began only weeks after Winter’s Bone got its initial very limited release, and months before the wholly warranted Jennifer Lawrence lovefest commenced during 2010’s awards season, culminating in the actress’s well-deserved Oscar nomination. So she wasn’t yet the golden It Girl she is today.

And still… the scariest thing about House at the End of the Street is that this sort of junk is considered a good career move for a young actress who’s just come off a small film from a respected indie director and, indeed, already had a slew of respectable TV and indie credits before that. Options for commanding young female actors should not be so limited in Hollywood. How is it possible that no one has the vision to carve a regular space for badass girls?

Because this right here? This is banal, lazy filmmaking that cannot even be bothered to be cheerfully cheap and cheesy, which is, for some horror fans, more than enough. It is, however, still stuck in the same-old put-the-pretty-girl-in-jeopardy rut, which means that Jennifer Lawrence is trapped in something that is constitutionally unable to allow her to be the strong, competent young woman she arrived as. It’s just not within the genetic makeup of a story like this.

But wait! Here you get two women in jeopardy! There’s Lawrence’s high-schooler Elissa and her mom, Sarah (Elisabeth Shue: Hope Springs, Hamlet 2), who’ve just moved into this unnamed semi-rural neighborhood, where the next house down, the house at the end of the street, was the scene of a double murder a few years earlier. (IMDB commenters celebrate a “hot” mother-daughter pairing. I despair of yet another fantastic actress and screen presence, in Shue, who should be getting meatier roles than what she’s saddled with here.) Both mother and daughter think it’s weird and creepy how the other oh-so Stepford residents villify college student Ryan (Max Thieriot: Chloe, Kit Kittredge: An American Girl) for living in the house where his little sister allegedly killed their parents… but still, Mom does not want Elissa hanging around with Ryan too much, and certainly not the two of them alone in either house. And as for Ryan’s family… well, you don’t even need to have seen many horror films to know that there’s more there than we’ve yet heard.

Helicopter parenting and how kids fight it is as close to a theme or a subtext that screenwriters David Loucka and Jonathan Mostow (U-571, Breakdown) aim for, and it’s about the only thing that connects the first chunk of the film — the narcoleptic initial 60 minutes — with the WTF finale, which turns on a “twist” you will have guessed within about 30 seconds of hearing Ryan’s story if you’ve seen any horror films before. Not that I mean to imply that the film deals in any sort of interesting way with overbearing parents: it does not. Indeed, House commits the most unforgivable crime of any movie: it’s about what it’s about in the most obvious, uninteresting way possible, offering us no new ideas to ponder and not even a slight variation on any old ideas. It’s hard to see what, if anything, director Mark Tonderai was trying to convey beyond, Uhhh, pretty girl! Pretty girl in danger! Uhhh! like some sort of cinematic Igor compelled to put her in danger yet powerless to stop it.

Seeing a talent like Lawrence — and Shue, to a lesser degree, if only because of her smaller role here — plopped into the umpteenth repetition of this familar charade only highlights its limitations. And it doesn’t even do that in an unintentionally interesting way, either.

*Disclaimer: I’m exaggerating. I have never actually fallen asleep during a movie.
**In the U.K. In New York and Los Angeles, at least, there was a screening on the evening before it opened.

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Region 1
release date:

Jan 8 2013
Amazon US DVD
Amazon US VOD
Amazon Can DVD
Region 2
release date:

Jan 28 2013
Amazon UK DVD
US/Canada release date: Sep 21 2012 | UK release date: Sep 21 2012

Flick Filosopher Real Rating: rated CM (deserves cinematic foreclosure)
MPAA: rated PG-13 for intense sequences of violence and terror, thematic elements, language, some teen partying and brief drug material
BBFC: rated 15 (contains strong violence, threat and hard drug use)

viewed in 2D
viewed at a public multiplex screening

official site | IMDb | trailer
more reviews: Movie Review Query Engine | Rotten Tomatoes
  • http://twitter.com/mcjwserenity Matt Clayton

    To be fair, Jennifer Lawrence shot this film right before she did X-Men: First Class and way before The Hunger Games, which shot a year after this pic. She has to pay her bills like everyone else does… sometimes taking on a lead role in a terrible B-thriller is a big step for better things for her.

    It’s safe to say that with a hawk-eyed agent and the money rolling in from future HG and X-Men films — she won’t ever have to pick a terrible film again. Relativity picked it up, and saw $$$ signs once The Hunger Games became a smash hit. They really emphasized her involvement in the film, and luckily she was either too busy with the HG sequel or chose not to do press rounds for this pic.

    It’s a shame this film was awful… she was the BEST thing about the film, but even she can’t elevate that piss-poor script.

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