House is one of those ‘80s VHS staples that nobody actually seems to remember. While few could forget those luscious mulleted curls exploding out of William Katt’s head, the movie itself always felt more relevant as a perennial fixture (along with its three sequels) on video store shelves. We all THOUGHT we saw it at one point in time, but did we care?
Quick Plot: William Golden God Katt plays Roger Corbett, a successful horror novelist stuck with writer’s block as he struggles to pen his memoirs of his dark secrets in Vietnam. Following the earlier death of his son and subsequent divorce from his primetime soap star wife, Roger moves into the mysterious (and titular) house of his aunt, a batty artist who hanged herself in the film’s prologue.
It doesn’t take long for gooey monsters to pop out of closets and mounted trophy swordfish to flop about-
-yes, just like Billy Bass
It's tough being a writer, as Roger now has to balance ghost hunting/tolerating with remembering his days of combat beside good old genre stalwart Richard Moll. Despite the amusing/annoying aide of nosy neighbor George Wendt, the misdirected flirtations of a sexy foreign neighbor, and the sympathy of his ex-wife, Roger can’t seem to catch a break.
House is a most definite horror comedy, a subgenre that can degrade faster than almost any other with the passage of time. Any comeror or horromedy (yeah, I’ll stop doing that) generally relies on the gameness of its cast and willingness of its audience to let loose and laugh at what, with the removal of a few musical cues or altered facial expressions, is expected to incite fear in another title.
Does House work? Yes and no. Released in an age rife with haunted homes on camera (the Amityville series and Poltergeist were already sequels in), House has plenty of fun poking around at the squishy goblins and floating tools so identified with ‘80s suburban horror. The monster designs aren’t aiming for a Thing-like iconography, but there’s a great sense of personality about their look that finds a nice balance between the scary and silly. William Katt is one of those innately likable actors with a natural charisma that makes him easy to watch, an important factor since he’s in every scene of the film.
So what doesn’t work? Well, it’s not so much about what fails as much as it is what doesn’t go far enough. House is a tame film, one working hard for chuckles rather than laughs. Directed by Friday the 13th Parts 2 & 3 and Halloween: H20’s Steve Miner, it plays in the shallow end of the gorgeously kept inground pool without daring to cross the deeper territory of Evil Dead 2 or Dead Alive. That’s fine, as an attempt for all-out goofiness that fails can be painful for all involved. But ultimately, it makes House--which went on to slowly reap three sequel(ishe)s--fairly forgettable entertainment.
High Points
Even though he doesn’t get to have quite as much fun as I’d like to see, it’s always pleasant to see Richard Moll working in a film not tarnished by grain on a Mill Creek transfer
There’s a wonderful passing moment where Roger sits down to watch his wife’s Dynasty-like soap, a fine reminder of how great those storylines could be. Sample line of dialogue: “I can’t hide the fact that I’ve been a male prostitute for most of my life.” Can I watch THAT movie please?
Low Points
The tone is more than a bit confusing, especially when we consider the fact that there’s suicide, Vietnam trauma, and a dead child lurking around the peripheral of House’s main plotline
Lessons Learned
The best way to get over an ex you still harbor feelings for? Shoot a monster wearing its clothing
Solitude is always better with someone
When the sexy blond neighbor asks you if you like to play, she might indeed be referring to Chutes & Ladders or Hide ‘n Seek
Fashion Alert
Hey able-bodied men: whenever you’re ready, the world is welcoming of the sexy deep V-neck sweater to make its triumphant return
Rent/Bury/Buy
House is currently streaming on Netflix Instant, which makes it fine for a fluffy afternoon with the kids (minus the suicide and PTSD). It’s light, goofy, but not over the top comedy with the look of a horror film. Nostalgic ‘80s fans will certainly appreciate some of its references, while younger audiences may just find it on their level. Don’t ring the bell expecting to be scared, but do take comfort in knowing you’ll be staring at William Katt’s baby blue eyes for 90 minutes.
To each her own.
To each her own.