I've had this on my list to watch for awhile, though I forget why. Was it the involvement of Natasha Henstridge, who has certainly proven herself elsewhere? Was it the inclusion in the cast of Nicola Posener, who is much less well known but who has impressed me before? Or could it just be the premise revolving around wine, since I do enjoy a glass every now and again? I'll also say that I liked filmmaker Coz Greenop's 2017 feature 'Dark beacon,' imperfect though it may have been, so that's certainly in the favor of 'House red,' too. Whatever the case may be, to start watching, gorgeous filming locations and a solid production design certainly don't hurt the film's chances. Though less important generally, I'll also say that I appreciate the hair and makeup, and the costume design. While Fabio D'Andrea's score may not be wholly remarkable, I think it's pretty swell in its tense chords that help to lend definite atmosphere to the proceedings.
On the other hand, in other ways this doesn't take long to start making a different kind of mark. The bones of the plot are quite fine, if almost perfectly predictable and, consequently, unremarkable. The way characters, dialogue, and scenes are commonly written is another matter - often bizarrely blunt and lacking any tact or delicate hand. Two highly visible male characters are simply boorish and unlikable, though with that said, there's a nonsensically sexual flavor to the feature at large (including gratuitous nudity) that's a little off-putting, like a cork that has disintegrated and fallen inside that bottle you just opened. Mind you, characters are written in the first place with intelligence that comes and goes; while we're at it, the casual homophobia at a few select points is entirely pointless. Greenop and co-writer Lee Apsey are also peculiarly insistent on inserting as much awkwardness between characters as they can, and into all possible dialogue and scenes; it's one thing for a horror flick to paint supporting roles as "unfriendly," fostering an atmosphere of unease, but this screenplay goes completely overboard.
The cast do what they can under the circumstances; I think the performances are broadly able-bodied. No one specifically rises above, but no one falls short, either, though there are instances where the acting feels a tad forced (a trait I can only assume is owed to the nature of the material). The blood and effects are well done, if sparing. Douglas Milsome's cinematography is actually quite lovely for the most part, though it's sadly noteworthy that in a scene that takes place at night, the picture falls into the same trap as too many others of such poor lighting that it's actually almost impossible as a viewer to see what's happening. (Thankfully - ruefully - it's not much.) James Fuller's editing is capable, if nothing special, though in the last few minutes it's distinctly overdone. However, speaking of "overdone," the last few minutes are altogether superfluous, I think, and needlessly pad out the length. Trimming just a tiny bit off would have lost nothing, and in fact would have helped the last meaningful scene to resonate a bit more.
I don't believe 'House red' to be bad; I had a reasonably good time watching. But my enjoyment was tempered by easily foreseeing the plot points to come, and by too many small moments throughout that inspired a skeptical "What." I think all this really would have needed to find greater success would have been more polish in the writing, and perhaps dropping the needless sexual overtones that add nothing to it. Such as it is I suppose this movie still earns a soft recommendation, and is maybe best suggested for those who are big fans of someone involved. One way or the other, just don't go out of your way for it; save it for a lazy day to enjoy with your favorite vintage, and let's just leave it at that.
On the other hand, in other ways this doesn't take long to start making a different kind of mark. The bones of the plot are quite fine, if almost perfectly predictable and, consequently, unremarkable. The way characters, dialogue, and scenes are commonly written is another matter - often bizarrely blunt and lacking any tact or delicate hand. Two highly visible male characters are simply boorish and unlikable, though with that said, there's a nonsensically sexual flavor to the feature at large (including gratuitous nudity) that's a little off-putting, like a cork that has disintegrated and fallen inside that bottle you just opened. Mind you, characters are written in the first place with intelligence that comes and goes; while we're at it, the casual homophobia at a few select points is entirely pointless. Greenop and co-writer Lee Apsey are also peculiarly insistent on inserting as much awkwardness between characters as they can, and into all possible dialogue and scenes; it's one thing for a horror flick to paint supporting roles as "unfriendly," fostering an atmosphere of unease, but this screenplay goes completely overboard.
The cast do what they can under the circumstances; I think the performances are broadly able-bodied. No one specifically rises above, but no one falls short, either, though there are instances where the acting feels a tad forced (a trait I can only assume is owed to the nature of the material). The blood and effects are well done, if sparing. Douglas Milsome's cinematography is actually quite lovely for the most part, though it's sadly noteworthy that in a scene that takes place at night, the picture falls into the same trap as too many others of such poor lighting that it's actually almost impossible as a viewer to see what's happening. (Thankfully - ruefully - it's not much.) James Fuller's editing is capable, if nothing special, though in the last few minutes it's distinctly overdone. However, speaking of "overdone," the last few minutes are altogether superfluous, I think, and needlessly pad out the length. Trimming just a tiny bit off would have lost nothing, and in fact would have helped the last meaningful scene to resonate a bit more.
I don't believe 'House red' to be bad; I had a reasonably good time watching. But my enjoyment was tempered by easily foreseeing the plot points to come, and by too many small moments throughout that inspired a skeptical "What." I think all this really would have needed to find greater success would have been more polish in the writing, and perhaps dropping the needless sexual overtones that add nothing to it. Such as it is I suppose this movie still earns a soft recommendation, and is maybe best suggested for those who are big fans of someone involved. One way or the other, just don't go out of your way for it; save it for a lazy day to enjoy with your favorite vintage, and let's just leave it at that.
