Roger Cobb is a Vietnam veteran and horror novelist whose life is turned upside down by the mysterious disappearance of his son Jimmy. Leading to both his marriage and his literary career being left in ruins. When his aunt dies having hanged herself, Roger inherits her old house. Moving in, he sets about writing about his experiences in Vietnam. Before long though, Roger begins experiencing spooky goings on within his new home and finds himself being forced to confront the ghosts of his own past.
It's safe to say that no one would have expected this horror comedy to be in any way a box-office success upon its release. The odds certainly weren't in its favour given that it received a limited theatrical release in the United States. However, despite this, it managed to gross $19.4 million from the North American box office, on a $3 million budget. Produced by Sean S. Cunningham, the man behind the Friday the 13th franchise and directed by Steve Miner who had previously helmed the first two sequels in the horror series. It's best described as a tongue-in-cheek haunted house movie, which in itself is something that even by 1986 had been done to death. After all, Poltergeist had only just been and gone four years previously. That having been said, there hadn't really been a movie of its ilk that had taken the subgenre in a more comical direction.
Written by Ethan Wiley (who would go on to write and direct its 1987 sequel The Second Story) and Fred Dekker, who had both written and directed the cult b-movie Night of the Creeps, and would go on to also write and direct The Monster Squad and would go on to destroy the Robocop franchise with its abysmal third entry. It wouldn't be uncharitable to say that either man had high credentials. Nevertheless, House, for all its shortcomings, was and still is something of a cut above the usual B-movie dross. Due of course in part to the fact that it wisely doesn't take itself too seriously.
Starring William Katt (likely best known for his roles in Carrie and the cult comedy-drama series, The Greatest American Hero), as Roger Cobb. A man deeply scarred and troubled by the circumstances concerning his past. It would therefore seem serendipitous when his Aunt kills herself, leaving him her old house, and he uses as a means to shut himself away to concentrate on writing about his time as a soldier in Vietnam. Of course, it's not long before our hero begins experiencing strange supernatural goings on, encountering all sorts of outlandish ghoulish phenomena. It's undemanding hokum with a plot that doesn't tax the brain too much. It's best to just to be left behind at the front door. At close to forty years old now it has to be said it has dated with age and looks rough around the edges, not helped by its 80s low budget. A stop-effect in bringing a winged skeletal demon to life looks pretty ropey.
George Wendt, best known for his role as barfly Norman Peterson in the hit sitcom Cheers which he was starring in at the time, offers some further welcome comic relief as Roger's nosey next-door neighbour, who becomes more and more bemused by Cobbs antics, as he becomes more and more unnerved by the ghoulish craziness he finds himself caught up in. Complicated all the more when he finds himself babysitting a beautiful blonde neighbours little son, and he has to defend against the house's mischeievous inhabitants. Lending some further fun into the mix. Katt himself does well in playing it all admirably straight-faced despite all the absurdity, lending some gravitas to proceedings. In the last analysis House doesn't offer anything new to the table. It doesn't offer much in the way of genuine scares, which most certainly Isn't its strength. Miner however manages to maintain a steady balance between the irreverent and the macabre. The sight of Katt running down the flight of stairs in his house, and right out into the street outside in military fatigues and goggles, will be more than enough to raise a smile. As will the reaction wonderfully puzzled reaction from Wendt as he's out walking his dog. Poltergeist can't even boast having done that one.
It's safe to say that no one would have expected this horror comedy to be in any way a box-office success upon its release. The odds certainly weren't in its favour given that it received a limited theatrical release in the United States. However, despite this, it managed to gross $19.4 million from the North American box office, on a $3 million budget. Produced by Sean S. Cunningham, the man behind the Friday the 13th franchise and directed by Steve Miner who had previously helmed the first two sequels in the horror series. It's best described as a tongue-in-cheek haunted house movie, which in itself is something that even by 1986 had been done to death. After all, Poltergeist had only just been and gone four years previously. That having been said, there hadn't really been a movie of its ilk that had taken the subgenre in a more comical direction.
Written by Ethan Wiley (who would go on to write and direct its 1987 sequel The Second Story) and Fred Dekker, who had both written and directed the cult b-movie Night of the Creeps, and would go on to also write and direct The Monster Squad and would go on to destroy the Robocop franchise with its abysmal third entry. It wouldn't be uncharitable to say that either man had high credentials. Nevertheless, House, for all its shortcomings, was and still is something of a cut above the usual B-movie dross. Due of course in part to the fact that it wisely doesn't take itself too seriously.
Starring William Katt (likely best known for his roles in Carrie and the cult comedy-drama series, The Greatest American Hero), as Roger Cobb. A man deeply scarred and troubled by the circumstances concerning his past. It would therefore seem serendipitous when his Aunt kills herself, leaving him her old house, and he uses as a means to shut himself away to concentrate on writing about his time as a soldier in Vietnam. Of course, it's not long before our hero begins experiencing strange supernatural goings on, encountering all sorts of outlandish ghoulish phenomena. It's undemanding hokum with a plot that doesn't tax the brain too much. It's best to just to be left behind at the front door. At close to forty years old now it has to be said it has dated with age and looks rough around the edges, not helped by its 80s low budget. A stop-effect in bringing a winged skeletal demon to life looks pretty ropey.
George Wendt, best known for his role as barfly Norman Peterson in the hit sitcom Cheers which he was starring in at the time, offers some further welcome comic relief as Roger's nosey next-door neighbour, who becomes more and more bemused by Cobbs antics, as he becomes more and more unnerved by the ghoulish craziness he finds himself caught up in. Complicated all the more when he finds himself babysitting a beautiful blonde neighbours little son, and he has to defend against the house's mischeievous inhabitants. Lending some further fun into the mix. Katt himself does well in playing it all admirably straight-faced despite all the absurdity, lending some gravitas to proceedings. In the last analysis House doesn't offer anything new to the table. It doesn't offer much in the way of genuine scares, which most certainly Isn't its strength. Miner however manages to maintain a steady balance between the irreverent and the macabre. The sight of Katt running down the flight of stairs in his house, and right out into the street outside in military fatigues and goggles, will be more than enough to raise a smile. As will the reaction wonderfully puzzled reaction from Wendt as he's out walking his dog. Poltergeist can't even boast having done that one.