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  • Netflix’s The House is an unsettling anthology wrapped in cozy stop-motion

A collection of three stories each exploring a different kind of terror

By Andrew Webster , an entertainment editor covering streaming, virtual worlds, and every single Pokémon video game. Andrew joined The Verge in 2012, writing over 4,000 stories.

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The House

The House , one of Netflix’s first new releases of the year, is a straightforward concept. It’s a film split into three chapters, each helmed by a different director, all of which explore a different story related to the same sprawling home. What connects each short, aside from the physical house and stop-motion animation, is a creeping sense of dread. The House looks cute, with talking animals and dollhouse-like visuals, but in each story there’s something lurking just beneath the surface; something wrong, unsettling. It could be a recession or a scary creature — but when you put it together the result is an anthology with a trio of distinct, yet clearly connected stories.

The first chapter, directed by Marc James Roels and Emma de Swaef, is an origin story of sorts, which opens with the ominous phrase, “and heard within, a lie is spun.” It’s a story about envy: when visiting relatives mock a young family’s home, the father makes a drunken arrangement with an eccentric architect offering to build them the house of their dreams free of charge. Initially, it’s an almost idyllic scenario; not only is the house huge and beautiful, but food appears as if from nowhere and the lights turn themselves on. But slowly things unravel. One day stairs go missing as the architect decides to rearrange his masterpiece, while zombie-like workers lurk around in silence. Later the architect gifts the parents bizarre clothing to match the decor. It’s hard to tell whether something supernatural is going on or if it’s just a cruel psychological experiment, and it’s all rendered in soft felt that only adds to the surreality.

Later stories move the timeline forward. Chapter two, directed by Niki Lindroth von Bahr, is set in modern times, when a struggling contractor — who is also a mouse — is renovating the house in an attempt to make some big money. Unfortunately, everything seems to go wrong; not only is he investing everything in the project in the midst of a recession, but he has to deal with persistent problems like a mysterious bug infestation. When the house is complete, only one couple bites: and there is something clearly wrong with them. I won’t spoil anything, but this one is worth watching for the final twist alone. The last chapter, helmed by Paloma Baeza, pushes things further into the future when the house is surrounded by a flooded city. However, a young cat, who has converted the home into apartments, refuses to cave to reality and literally tries to wallpaper over her problems while her remaining tenants do what they can to help her move on.

Despite the various circumstances and timelines, in each story the house represents a kind of lifeline for the characters. It’s a chance for a family to inspire jealousy, for a mouse to pull himself out of the crushing weight of debt, and for a cat to slowly build the home of her dreams. The house seems to attract the desperate. What’s most interesting about The House is how each story offers a different riff on this theme. The first two chapters lean into being creepy, particularly their unsettling endings, but while the first is more of a slow-building dread, the second is much more tangible. Meanwhile, the final chapter, despite starting out quite bleak, ends on a surprisingly hopeful note.

The House also features some of the best-looking stop-motion animation you’ll see outside of a Laika film . Each story has a different vibe. The felt characters of chapter one lend it an almost cozy vibe, that makes the darker elements even more stark, while the second chapter is incredibly lifelike and detailed, right down to the little piece of tape covering the webcam on the contractor’s laptop. The final story, meanwhile, is more ethereal, with foggy backdrops that signal something approaching the end of the world. The only constant is the house, which is always recognizable despite superficial changes over the years.

It’s an almost ideal anthology: connected and yet standalone. And, at around 30 minutes each, the chapters are short enough that they don’t overstay their welcome, while also being strange enough to stick with you.

The House streams on Netflix starting January 14th.

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Stream It Or Skip It: ‘The House’ On Netflix, An Animated Dark Comedy About A Big Creepy House In Three Different Timelines

Where to stream:.

  • The House (2022)

Netflix Basic

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It’s hard to describe an animated dark comedy as “grim”, but that word kept popping into our heads while watching  The House , which consists of three “episodes” about a massive, creepy house in three different timelines. Why is it so grim?

THE HOUSE : STREAM IT OR SKIP IT?

The Gist: The House is an stop-action animated film that’s billed as a dark comedy; in the film, three stories are told, all involving a massive, creepy house that feels like it’s bigger inside than it is outside — and it’s pretty big on the outside.

In the first story, directed by Emma de Swaef and Mac James Roels, an impoverished family in the 1800s is given an offer they can’t refuse. Raymond (Matthew Goode) is shamed by his grouchy aunts and uncles when they come to see baby Isobel (Elanor De Swaef-Roels). He wanders the woods drunk, and receives an offer from an eccentric millionaire named Van Schoonbeck (Barney Pilling); he’ll build his family a mansion for free if they abandon their modest house. The house is huge and a bit airless, and older daughter Mabel (Mia Goth) finds that the millionaire is constantly making changes, and his representative, Mr. Thomas (Mark Heap), is losing his mind.

In the second story, directed by Niki Lindroth von Bahr and set in the current day, a house flipper (Jarvis Cocker) has put all his resources into renovating the mansion. He ends up completing it mostly by himself and loves what he sees… until he finds an infestation of fur beetles. Still, an open house is coming and he wants to make sure the house is ready. Most of the prospective buyers there show little interest, except for an odd couple (Sven Wolter and Yvonne Lombard) who say they are “very interested.” They’re so interested, they essentially move in. Did we mention that they’re all rats?

In the third story, directed by Paloma Baeza and set in the near future, the house is the only thing still dry in a completely flooded city. It’s now an apartment complex, and the landlord, a cat named Rosa (Susan Wokoma) — she’s literally a cat, as is everyone else in this story — is determined to renovate the mansion. But she can’t get rent from her two remaining tenants; a young man named Elias (Will Sharpe) pays her in fish and a hippie lady named Jen (Helena Bonham Carter) pays her in crystals. When one of Jen’s mystical friends named Cosmos (Paul Kaye) comes to visit, Jen is shown that it’s time to let go of the house, but she stubbornly wants to stay put.

What Movies Will It Remind You Of?: Weirdly enough,  The House reminded us of the “Dollhouse of the Damned” episode of  The Haunted Museum , maybe because they both use stop-action animation.

Performance Worth Watching: We most enjoyed the performances in the third story, with both Wokoma’s turn as the exasperated Rosa and Carter’s voice performance as the free spirited Jen.

Memorable Dialogue: Not sure why, but every time little Elanor De Swaef-Roels burbled as Isobel, she had our attention. Yes, what she said wasn’t exactly “dialogue,” but it did stick in our minds more than any individual quote.

Sex and Skin: None.

Our Take: Like we mentioned at the top of this review,  The House bills itself as a dark comedy. But in reality, it’s more “dark” than “comedy”. In fact, the first episode is so grim and creepy, with the puppets’ tiny faces, we were praying that the second story would change at least the tone.

We were happy to see that was the case, even if all the characters were rats. By making them rats, we wonder if Lindroth, the segment’s director, was insinuating that if anyone will survive this world, it’ll be the rats and fur beetles. The tone of it was definitely lighter, though the developer’s desperation was palpable throughout, especially as he tries to sell this boondoggle of a mansion to prospective buyers who all seem indifferent. The weird couple that invade were certainly off-putting, to say the least, but it gave someone for the developer to bounce off of, rather than just mutter to himself.

The third story had the most hope, even though it describes a very plausible environmental disaster. It’s not a coincidence that it has the most complete story and the best performances. We don’t quite know why Rosa wants to desperately hold onto the mansion despite the entire city being underwater, but at least there’s an arc there where she finally learns to let that go, and she’s rewarded for it.

Through all three stories, the animation is the star, with the textures of each character’s fur or skin manipulated as much as their limbs and heads are, and the movement made so smooth as to make the viewer forget it’s a stop-action animated film. Despite the grimness of the stories, the expressiveness of the animation is what kept us engaged.

Our Call: STREAM IT.  The House is certainly off-putting and weird at times, but the animation is great and the stories moved along just quickly enough to keep us interested.

Will you stream or skip the animated dark comedy #TheHouse on @netflix ? #SIOSI — Decider (@decider) January 15, 2022

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com , VanityFair.com , Fast Company and elsewhere.

Stream  The House On Netflix

  • Stream It Or Skip It

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Great cast wasted in tepid, weirdly violent comedy.

The House Poster Image

A Lot or a Little?

What you will—and won't—find in this movie.

Well-meaning as it might be, there are better ways

Public officials are corrupt, parents run an illeg

Surprising amount of violence for a comedy: A man'

Man briefly seen nude from the rear. A couple who

Frequent cursing includes "f--k," "f--king," "f--k

One scene features characters shopping in a Contai

Adults and recent high-school graduates drink alco

Parents need to know that The House is an over-the-top comedy built around an iffy premise: Parents (Will Ferrell and Amy Poehler) start an illegal casino to pay for their daughter's college. There's more violence than you'd expect: Limbs and digits are chopped off, with spouting blood that goes everywhere…

Positive Messages

Well-meaning as it might be, there are better ways to support your kids' endeavors than to launch a criminal enterprise. Male and female characters being called "b---h" and "p---y" sends an uncomfortable message about gender roles.

Positive Role Models

Public officials are corrupt, parents run an illegal gambling ring, and a supposedly level-headed teen is smoking pot and sneaking into an illegal casino. Still, there's a loving, if sitcom-y, family at the center of this muddled movie. Not a lot of diversity.

Violence & Scariness

Surprising amount of violence for a comedy: A man's finger is chopped off accidentally; he screams, and gouts of blood cover another man's clothes and face. A character frequently threatens others with an axe and eventually chops off someone's arm (silly yet gory special effects) and then sets him on fire; another character makes threats with a blowtorch. A woman jokes about her problems and mimes that she's going to commit suicide by hanging. A mobster threatens characters with a gun; a police officer tosses a gun around playfully and tells horrified onlookers that being afraid of a gun is "silly."

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Man briefly seen nude from the rear. A couple who wants to reassure each other that their sex life is still great make jokes about going to "F--k Town." Jokes about date rape, masturbation, anonymous sex through holes in the wall. Characters threaten to cut a man's penis off in a moment that's played for laughs.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Frequent cursing includes "f--k," "f--king," "f--ked," "f--k you," "bitch," "ass," "damn," "crap," "hell," "s--t," "bulls--t," "a--hole," "goddamn," "d--k," "boner," "p---y."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

One scene features characters shopping in a Container Store, with the store's logo and signage clearly visible. A character uses a vessel at the store to vomit in and mentions this fact prominently.

Drinking, Drugs & Smoking

Adults and recent high-school graduates drink alcohol and smoke pot (joints, creative bongs). One character drinks and smokes to excess; she later vomits and says she's mentally and physically addicted to marijuana. In several scenes, characters snort cocaine. A main character smokes cigarettes.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that The House is an over-the-top comedy built around an iffy premise: Parents ( Will Ferrell and Amy Poehler ) start an illegal casino to pay for their daughter's college. There's more violence than you'd expect: Limbs and digits are chopped off, with spouting blood that goes everywhere. Main characters threaten others with an axe and a blowtorch, a villain threatens a crowd with a gun, and a cop plays with a gun and says being afraid of guns is "silly." A woman also mimes hanging herself as a response to a stressful situation. Both adults and high-school grads drink and smoke pot (a main character says she's addicted to the latter); in one scene, a bunch of men snort cocaine. Things get pretty racy, too: There are jokes about masturbation, date rape, a married couple's sex life, and anonymous sex through holes in a wall. Language is strong and frequent, with many uses of "f--k," "s--t," and much more. Both male and female characters are derisively called "bitch" and "p---y," which sends an uncomfortable message about gender roles. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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  • Parents say (8)
  • Kids say (11)

Based on 8 parent reviews

Disturbingly Bad

What's the story.

When Kate ( Amy Poehler ) and Scott ( Will Ferrell ) Johansen find out that the town-sponsored college scholarship they'd counted on for their beloved daughter, Alex ( Ryan Simpkins ), has been withdrawn by shady mayor Bob ( Nick Kroll ), they handle the news by going on a money-losing spree to Vegas with their pal Frank ( Jason Mantzoukas ), a struggling gambling addict. And that's where they get their big idea. If casino games are rigged, why not become THE HOUSE themselves? Within days, Frank's miserable-bachelor pad has been transformed into a mini-Monte Carlo, and the trio are raking in the green. But the casino soon attracts the attention of Officer Chandler ( Rob Huebel ) -- and, worse, local mobster Tommy ( Jeremy Renner ). Can the Johansens hold on to their cash, their freedom, and and all of their body parts?

Is It Any Good?

Such funny people, such weak material, such a shame and a waste. Every single person in this comic misfire has acquitted themselves honorably elsewhere, from the two main stars -- who are, of course, legends (Buddy the Elf meets Leslie Knope!) -- to the outrageous excess of the brilliant third and fourth bananas: We haven't even mentioned that Allison Tolman , Randall Park , and Lennon Parham are doing time here, too, or that The House was directed and co-written by Neighbors' Andrew Jay Cohen. Still, all that talent yields only a few weak chuckles.

Part of the problem is that the movie's basic premise is so dumb. The moment -- and it comes early in the film -- that viewers catch sight of Scott and Kate's gigantic house, all the air goes out of their dilemma: Couldn't they just move into a smaller place and use that money to send Alex to college? Also: These people with good jobs were so sure that their daughter would win the town scholarship that they never opened a 529 plan? Further logic problems exist around the economic viability of their casino (they're going to wring hundreds of thousands of dollars from their neighbors?) and of a mob boss who comes to threaten them. But viewers wouldn't be worrying about these holes if they were laughing harder. But while everyone onscreen is visibly working to make us laugh, the jokes are just inert. There are stupid comedies that are still funny. Too bad this one isn't one of them.

Talk to Your Kids About ...

Families can talk about the violence in The House . How does the comic tone affect how you react to it? Does it make the movie funnier? What's the impact of media violence on kids?

How does the movie depict drinking and drug use . Are they glamorized ? Are there realistic consequences? Why does that matter?

What audience was this movie made for? How can you tell? How might it be different with a different target audience?

Movie Details

  • In theaters : June 30, 2017
  • On DVD or streaming : October 10, 2017
  • Cast : Amy Poehler , Will Ferrell , Allison Tolman
  • Director : Andrew J. Cohen
  • Inclusion Information : Female actors
  • Studio : Warner Bros.
  • Genre : Comedy
  • Run time : 88 minutes
  • MPAA rating : R
  • MPAA explanation : language throughout, sexual references, drug use, some violence and brief nudity
  • Last updated : February 26, 2022

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Netflix's the house: all 3 story endings explained.

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Warning: Contains MAJOR SPOILERS for The House Netflix's stop-motion anthology, The House , is creepy and complex, and all three story endings require careful explanation. The House film features three separate tales linked only by their themes and setting: the titular house. This anthology series combines detailed and intricate stop-motion animation with a dark tone and creepy atmosphere in order to create a truly unique experience.

The House also features some subtle and, at times, even political themes. The Netflix series tackles issues such as class, materialism, and climate change. Combined with the horror elements of the first two stories, The House develops into something much more mature than one might expect from stop-motion animation. Each of the three short films features an ambiguous ending that requires consideration of the ideas presented more so than a straightforward understanding of the plot.

Related: Tim Burton's Favorite Horror Movies

The first story in the House anthology recounts the strange events that occur after the patriarch of a family makes a deal with a wealthy architect. They move into a newly-built house, in exchange for their own more modest home. The second film takes place in the modern-day and is about a property developer struggling to combat the house's bug infestation while dealing with the arrival of two unwanted guests. The final short film is set in a future where the planet has experienced a seemingly apocalyptic flood. Rosa, the feline landlord of a house barely above water level, is frustrated by her two tenants' refusal to pay rent. She must then contend with the arrival of an eccentric visitor. Here's a detailed explanation of all three The House film endings.

The House 's first story, titled "And heard within, a lie is spun," takes on the atmosphere of an old folk tale and ends in a grim manner reminiscent of those kinds of stories. After being neglected by their parents, Mabel and Isobel, the two children of the family, escape the burning mansion after their parents are transformed into furniture; the father into a chair, and the mother into curtains. The trajectory of this horrific fairy tale outlines a clear moral. The opening of the film shows that despite living in poverty, this family is close-knit and loving. It is only after a visit from some affluent extended family, who are eager to belittle the family and their home, that Raymond is shown drinking and depressed. He and Penny subsequently agree to the architect's strange deal. Their decision is clearly born from a feeling of shame regarding their economic circumstances and a strong desire to live up to the family's expectations. While Mabel is shown as being perfectly content with their life, the opening scene clues the viewer into how this materialism has been internalized even by her. She is seen playing with a large dollhouse, imagining a conversation between her and her aunt Eleanor, in which she compliments the " lovely house ."

It's clear that this The House film story is about an attachment to superficial signifiers of wealth and opulence, something that comes at the expense of the characters' humanity. They become the things they desire. Aunt Eleanor had passive-aggressively commented on the curtains in their " dismal " house, something Penny clearly took to heart as she then spends all her time sewing curtains once they move into the mansion. Whereas Raymond starts burning the furniture from their old house, in a desperate attempt to rid himself of his past. Of course, this fire will eventually consume everything. However, the ending of The House's first tale is somewhat hopeful in that it allows for the possibility of the children, the younger generation, to escape this self-destructive materialism, as Mabel and Isobel are shown surviving this haunted house .

Part 2 of The House , "Then lost is truth that can't be won," features perhaps the most nihilistic ending of all three stories. The protagonist, a developer, after being completely overrun by unwanted guests, seemingly reverts to his animalistic nature. Along with the rest of the house's new inhabitants, he consumes his surroundings — furniture, decorations, and various commodities. It seems that the developer has given in to a primal urge, something that comes in stark contrast to his previous behavior, which showed the character as desperate to achieve his goal of refurbishing and selling this house. This sudden turn indicates that the character has experienced a complete breakdown. He is last seen scurrying into a tunnel in the rotisserie oven.

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While the story's bleak ending , reminiscent of Kafka's Metamorphosis, seems strange and surreal (as do each of the three endings in The House anthology), its meaning is quite clear. The rat spends the entire film trying to fend off a vermin infestation, as well as get rid of two unwanted guests (who also have the appearance of giant bugs). He is obsessed with renovating this house and making it presentable. This property becomes his personal project, which causes him a lot of anxiety. This ending simply shows the natural consequence of that gradual buildup. He abandons the superficial pursuit of finding self-worth in material things and instead reverts to a kind of state of nature, where everyone is seemingly free to do and consume whatever they want. The idea of " property " is non-existent. There's also the likely possibility that all of this surreal and ambiguous ending is simply a hallucination caused by the boric acid the rat has been using to kill the bugs (the chemical that sent him to the hospital). Perhaps this is all a dream he is experiencing at the hospital.

This final story featured in Netflix's The House anthology, titled "Listen again and seek the sun," ends with the landlord, Rosa, finally letting go of her dedication to the house, deciding instead to sail away with the other characters. The story opens with Rosa listing the tasks she must perform to maintain the building. She is seen struggling to stick wallpaper to the walls, representing her struggle to keep on top of all the different jobs that need doing. She is portrayed as determined, but also frustrated. Rosa is clinging to outdated ideas about property and money that don't really make sense in this new world. Her tenant, Elias ( yet another anthropomorphic animal ), makes this apparent to her, noting that the water level will soon rise and start to flood the house, but she remains committed to the idea of finding new tenants. It is only after Elias' departure that Rosa realizes he could draw, indicating that her fixation on being a landlord had prevented her from seeing the full character of her tenants. She perceived them as nuisances who didn't pay their rent on time.

Talking to Jen, Rosa reveals that her plan was to make " a home with good memories for myself ." Jen advises that she should love her past, but " travel on ." Whereas The House 's first story shows the beginning of the materialist mindset, born out of the frustrations of class envy, and the second film presents something of an overreaction to the pressures of modern life, perhaps retreating too far in the other direction, this final story shows the overcoming of our present-day materialism. Rosa must move on and learn to grow out of her fixed vision of the world, and so the story ends with her literally uprooting her habitat and moving forward, in search of a different kind of life.

How The House's Endings Are Connected: The Movie's Real Meaning Explained

The plot of the Netflix anthology series The House has a lot to say about consumerism, capitalism, and tenancy. The themes of the animated features are hot-button current topics in the United States today, and all three are connected by a common thread. The first story depicts the rise of consumerism, which is rolled in with the setting. While no concrete time frame is given, it looks to be set during the Gilded Age (around the same time as Downton Abbey ), a period in which consumerism was on the rise with the advent of department stores and catalogs. Class division during this time was particularly palpable, and Raymond feels the only way to combat his status is to buy into the new house. Becoming consumed with the capitalist spirit, Raymond and Penelope burn all of their old possessions, and the fire inevitably leads to their downfall.

Related: Why Tim Burton Needs Stop Motion To End His Losing Streak

Like the message of Don't Look Up , consumerism and capitalism also lead to the downfall of Part 2's unnamed developer. As part of the literal "rat race," the landlord does his best to flip and sell the house, but the stress of the housing market drives him insane. Rather than just sell the house, he lets the unwanted guests take over and fully succumbs to his madness, suggesting that the only course consumerism and capitalism can lead to is insanity. While Rosa from The House Part 3 doesn't face the same bleak circumstances as the other characters, she's also driven to make money and feed the consumerist machine in a world plagued by climate change disasters. All in all, the three endings are linked to the subjects' futile attempts to live a consumerist lifestyle in a capitalist context. The absurdity and futility of trying to live a stable, fulfilling life in the grip of a crushing economic system are what drive Netflix's The House film forward and bring bitter endings to each chapter.

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  • The House (2017)

movie review the house

Tobias Moretti (Johann Hellström) Valery Tscheplanowa (Lucia Hellström) Hans-Jochen Wagner (Paschke) Lisa Vicari (Layla) Max von der Groeben (Alex) Samir Fuchs (Farhood) Daniel Krauss (Techniker) Alexander Wipprecht Verena Vorjohann Aminata Belli

Rick Ostermann

When a repressive government bans journalist Johann from plying his trade, he retreats with his wife, Lucia, to their high-tech vacation home. Soon, however, the smart home's artificial intelligence develops a life of its own.

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'Amazon Was Very Clear': Jake Gyllenhaal Wasn't Bothered by Road House Going Straight to Streaming

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This year, Amazon MGM Studios released a reboot of the 1989 film Road House , starring Jake Gyllenhaal in the lead role. Despite the controversy surrounding its release on the studio's streaming platform, Prime Video, the actor clarifies Amazon's intentions regarding the movie.

In his cover story for The Hollywood Reporter , Jake Gyllenhaal explained that they knew Road House was heading for the streaming service. The reboot of the Patrick Swayze-led film premiered at the SXSW Festival with a lot of controversy, as its director, Doug Liman publicly complained about the studio's decision not to premiere the film in theaters. However, Gyllenhaal, who previously addressed Amazon's decision for Road House , insisted that he was not surprised.

'I Should Have to Say No More': Stephen King Hypes Up Prime Video's Record-Breaking Film

Stephen King has shared his thoughts on Prime Video's record-breaking film.

The actor said, “As soon as I knew that it was going to definitely be streaming, which Amazon was very clear about, I was like, ‘Let’s go! Can this movie be an example as something that can reach an audience and still make its way to the zeitgeist? ’“

"Can this movie be an example as something that can reach an audience and still make its way to the zeitgeist?"

The film ended up being a huge success on the streaming platform , with over 50 million views in its first two weeks. Because of its popularity, Amazon MGM Studios has already ordered a sequel, which will bring back Gyllenhaal in his role as the ex-UFC fighter Dalton. It's unclear whether Doug Liman will also return. Speaking about the sequel, the actor said he was listening to “Willie’s Roadhouse,” the Willie Nelson Sirius XM channel, on the way to the interview, noting, “ Wait, Willie Nelson’s got to be in this. Willie Nelson’s got to do a song with Post Malone .” Post Malone also appeared briefly at the beginning of the movie as a boxer refusing to fight Dalton.

Road House Sequel in the Works at Amazon, Jake Gyllenhaal Tapped to Return

The 2024 Road House remake was a huge success, and Amazon is bringing it back.

Jake Gyllenhaal Had a Lot of Fun Filming Road House

Jake Gyllenhaal is famous for his intense films, some taking a toll on him, either physically, mentally, or both. However, the actor noted he had a lot of fun making the film. “There are movies I’ve made that people have said to me, ‘Man, intense. That was great. It was tough,’” Gyllenhaal says. “And there have been many different times where I’m like, ‘Wait, what’s it like to make a movie and be like, ‘That was just fun?’ Road House was definitely that. ” That was despite his staph infection after pressing his hand down on broken glass. Despite all the fun, the actor had to train a lot for the shirtless scenes, noting, “ I wanted to record it because I was 41 getting in shape and doing all this stuff ,” Gyllenhaal says. “I don’t know how long I’ll get to do it that same way.”

Gyllenhaal noted that some of his heroes, Patrick Swayze and Keanu Reeves' performances have inspired his acting. He also notes that he watched 1991's Point Break hundreds of times. “To deliver a line that goes into a trailer, with the right gusto and belief, and even with the absurdity of it, it’s a mastery,” Gyllenhaal says. “There’s that thing, the camera’s pushing in and I’m always like, ‘Oh wow, this is when you see Bruce Willis do the line, the thing. And now I’m doing the thing. Like, oh God.’ ”

Road House is streaming on Prime Video, with no official production date for Road House 2 .

Source: The Hollywood Reporter

Road House (2024)

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Jake Gyllenhaal was photographed May 13 at BOOM at The Standard, High Line in New York. Styled by Michael Fisher. Frame shirt and pants; Uniqlo tank; Cartier ring; Gyllenhaal’s own necklaces and bracelet throughout; Prada shoes.

Jake Gyllenhaal Just Wants to Freak Himself Out

Whether getting ripped for 'Road House,' prepping 'Othello' or pie tasting on date night, the 'Presumed Innocent' star can’t do anything halfway. Now he’s looking to refocus that intensity: “The feeling I want to have is, can I do it?”

By Rebecca Keegan

Rebecca Keegan

Senior Editor, Film

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Jake Gyllenhaal pulls his glasses out of his jean jacket pocket, the Coke bottle lenses in them strong enough to correct his 20/1250 vision. Yes, you read that right. These are not Internet Boyfriend glasses, to be styled with a fuzzy cardigan and a rakish smile. These are I Literally Can’t See glasses. Looking through them with normal vision feels like being on some sort of a hallucinogenic. 

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It’s almost a relief to learn that Gyllenhaal, who seems to have hit the lottery in so many facets of life — talent, looks, a show business family — has some sort of weakness. Sure, he may have chiseled down to 5 percent body fat to play an ex-UFC fighter in Road House opposite Conor McGregor, and he may be in the midst of preparing to perform Shakespeare’s Othello on Broadway with Denzel Washington, but the man is human.

If there’s a throughline to this eclectic recent résumé, Gyllenhaal says, it’s that he has been actively seeking projects that “freak me out a bit … The feeling I want to have is, can I do it? That it’s going to ask of me things that I don’t know about myself yet.” Sometimes the things he learns are uncomfortable — like that he can get a staph infection from pressing his hand down on a bunch of broken glass, which happened after shooting a fight scene in Road House . And he’s prepared for this philosophy of extreme challenge to backfire someday. Performing his first Shakespeare play ever in a Broadway production with Washington is a pretty high-stakes way to find out if he has a knack for the Bard. “Maybe I should have started with a sonnet,” he says.

But for all the intensity of focus Gyllenhaal has brought to his work over the years, lately he is working on mastering something he can’t achieve by grinding out another set at the gym or drilling his lines, something more elusive. More than 30 years into a career that started when he was 10 with a role in City Slickers , Gyllenhaal is — finally — learning how to navigate life onscreen and off with a little more peace. That has meant investing in his relationships, including with longtime girlfriend Jeanne Cadieu, and taking some roles for the pure pleasure of them.

It might seem like a stretch to call getting punched in the face “fun,” but Gyllenhaal is referring to the exuberant spirit of the endeavor. The actor references the film he says he has watched more than any other in his life, 1991’s Point Break , which he has seen hundreds of times. To him, Patrick Swayze’s and Keanu Reeves’ performances in the surf-cop action movie reflect the joyful commitment of true artists. “To deliver a line that goes into a trailer, with the right gusto and belief, and even with the absurdity of it, it’s a mastery,” Gyllenhaal says. “There’s that thing, the camera’s pushing in and I’m always like, ‘Oh wow, this is when you see Bruce Willis do the line, the thing. And now I’m doing the thing. Like, oh God.’ ” In Road House , for instance, before his character’s first time knocking out a rowdy bar customer, he asks genially, “Before we start, do you have insurance? Like, your coverage good? Do you have dental?” It’s the kind of action-comedy moment Gyllenhaal grew up watching and only now truly appreciates as craft. “It requires this ease, but focus,” he says. “I’m in awe of people who can do it.”

Peter Sarsgaard, Maggie’s husband of 15 years, has acted with Jake in multiple projects, including Presumed Innocent , and cites his brother-in-law’s unusual sensitivity to his environment, beyond the norm even for an actor. “He’s the person who knows that a fight’s about to happen before it happens,” Sarsgaard says, “that person who can feel the change in the emotional weather before other people do.” Gyllenhaal agrees that he is “hyperaware” and attributes that vigilance to a childhood with parents who were driven, and sometimes inaccessible. “My parents were really busy and working a lot,” he says. “I spent a lot of time as a kid being like, ‘What’s that mean? What is that? Are they going?’ ” To Sarsgaard, one benefit of the Gyllenhaal kids’ entertainment industry upbringing is an unusual sophistication about the business. “It seemed that they had a kind of, not just advantage in terms of getting jobs but in terms of knowing what the job was — both of them, from the day they were born,” Sarsgaard says.

On the heels of his acting coach’s observation that he had lost his sense of imagination, Gyllenhaal began reinventing himself artistically. He founded his Nine Stories production company and used it to back small but powerful movies like Paul Dano’s 2018 directorial debut, Wildlife , and The Guilty , a remake of a Danish thriller for which he recruited Fuqua to shoot with him during the pandemic. He also started producing theater, including a 2017 revival of Stephen Sondheim’s intricate musical Sunday in the Park With George , delivering the lead performance in a singing voice The New York Times called “a revelation.”

Road House , the apotheosis of Gyllenhaal’s mid-career action era, has an amusingly shallow origin story: He and director Doug Liman ran into each other at a 5K they were both running on Martha’s Vineyard during the pandemic. Gyllenhaal had been spending lockdown doing a lot of biking and was incredibly fit, and Liman decided he wanted to make a movie with him with his shirt off. At a time when even event movies are struggling in theaters, the reboot of the 1989 cult hit became proof-of-concept for the idea that an action movie can become a cultural moment without ever playing in a theater. Though Liman complained publicly about Amazon’s decision to premiere Road House on its streaming service, Gyllenhaal says that decision was not a surprise. “As soon as I knew that it was going to definitely be streaming, which Amazon was very clear about, I was like, ‘Let’s go! Can this movie be an example as something that can reach an audience and still make its way to the zeitgeist?’ “

Road House brought together divergent audiences, with fans of figures like McGregor and Post Malone, who has a cameo as a fighter, and a seemingly ubiquitous marketing campaign that included promotions through UFC and a premiere at SXSW. On his Instagram account, Gyllenhaal shared videos of his preparation, from pushups to ice baths. That was partly to help market the movie and partly to document the transformation for himself. “I wanted to record it because I was 41 getting in shape and doing all this stuff,” Gyllenhaal says. “I don’t know how long I’ll get to do it that same way.”

Presumed Innocent , an adaptation of the 1987 Scott Turow novel that was first made into a 1990 Harrison Ford movie, calls on Gyllenhaal to flex some different acting muscles as Rusty Sabich, a DA who ends up accused of a murder he’s supposed to be prosecuting. “Rusty is a deeply flawed and contradictory character, at times sympathetic, other times contemptible and sometimes both simultaneously,” says Kelley. Gyllenhaal puts Rusty’s issues a little more bluntly: “Every scene should be like, ‘You suck.’ And he’s like, ‘Sorry.’ ” Gyllenhaal recruited Sarsgaard to play his main adversary in the show, a rival attorney named Tommy Molto who was originally supposed to be Italian and very short (Sarsgaard is 5-foot-11 and Danish). The brothers-in-law lived together during part of the shoot, and, as sparring partners, they’re very well cast. “There wasn’t towel whipping, but I definitely enjoy giving Jake a lot of shit,” Sarsgaard says.

Gyllenhaal has taken the next several months off to prepare for his Othello production, which will hit Broadway in 2025 under director Kenny Leon. Shakespeare is another stop on the journey of finding “the things that are really me,” Gyllenhaal says. He has enlisted a Columbia University professor to help him absorb the text and is honing the lines with an acting coach who has worked with the Royal Shakespeare Company. “It is learning another language,” he says. “I have a bit of dyslexia, too, particularly within the articles of things — like, I’ll reverse them. Many people say, ‘But you learn so fast.’ And I’m like, ‘I drill these things.’ “

For the past six years, Gyllenhaal has been dating French model Jeanne Cadieu, whom he met at a restaurant in New York in 2018. Asked when they’re going to get married, Gyllenhaal says, playfully, “I’m supposed to tell The Hollywood Reporter that? I’m not going to give you timing,” but continues, “I think we all get into that space of work, work, work, and for a long time my career took precedence, but I’m at a point in my life where I realize that family really is the only thing that matters to me.”

Gyllenhaal and Cadieu love to cook together, and a favorite recent date was attending KCRW’s Good Food Pie Fest, where they hung out with a pie-baking drag queen named Bertha and tasted dozens of pies. “We got tickets a month and a half early,” he says. “I was like, ‘Babe, we can go! We can go to the pie contest!’ ” Gyllenhaal’s already pretty high level of enthusiasm about life seems to peak when he’s talking about food, chefs and cookbooks, and as he does so, his voice rises and speaking tempo accelerates. “Hugh Fearnley-Whittingstall — do you know him?” he asks hopefully. “Well, he leaves his gig as a chef in London and he buys a place out in the English countryside, like a little cottage, and what he does is he learns about the land and he learns about how to raise animals and how to grow things. … Yossy Arefi is an amazing baker. This book called Snacking Cakes ?” This goes on for several minutes. One of Gyllenhaal’s favorite desserts is a vanilla buttermilk cake with vanilla frosting from an Arefi recipe, and it’s the dish he often chose to cap off the once-a-week cheat meals he got while making Road House . “Jake is not just, like, a guy who throws a good dinner party,” Maggie says. “He’s as gifted a cook as he is an actor. Been a gifted cook since he was a kid.”

His devotion to his nieces is such that Gyllenhaal co-authored a children’s book last year, The Secret Society of Aunts & Uncles , with a childhood friend. Uncledom, Sarsgaard says, is “something Jake takes very seriously. There are two different types of uncles. Uncles who have had their own children and uncles that have not had children. Right now, Jake is the uncle who has no children of his own, so he’s like 110 percent. When he has children of his own, he’ll be 95 percent.” Still intense, just a little less so.

This story first appeared in the June 5 issue of The Hollywood Reporter magazine. Click here to subscribe .

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The ‘Home Alone’ house is on the market — without the booby traps — for $5.25 million

A two-story brick house with white windows and black shutters

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The house made famous by the 1990 blockbuster film “Home Alone” has hit the market in Winnetka, Ill., with a $5.25-million asking price.

The 671 Lincoln Ave. residence, 20 miles north of downtown Chicago, was the site for the Christmastime comedy in which 8-year-old Kevin McCallister (Macaulay Culkin) defends the family home from burglars (Joe Pesci and Daniel Stern) after being left behind when his family leaves on vacation.

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Dawn McKenna Group calls the listing “a rare opportunity to own one of the most iconic movie residences in American pop culture.” Built in 1921 and boasting 9,126 square feet of living space, the abode features full amenities — five bedrooms, six full baths, a home cinema, full gym and an indoor half-court for basketball — minus the movie’s trademark booby traps.

The current owners bought the home in 2012 for $1.59 million and renovated it in 2018, preserving its exterior and memorable features like the staircase McCallister slides down in numerous scenes, Dawn McKenna Group said online.

Trip Advisor lists the “Home Alone” property as “#1 of 20 things to do in Winnetka.” While a wrought-iron fence keeps tourists off the property, it’s possible to take a street-view selfie. The owners have not been shy about their famous home: In 2021, they offered up the place for just $25 a night on Airbnb.

Roberts Blossom dies at 87; character played neighbor in ‘Home Alone’

Roberts Blossom also won three Obie Awards for his off-Broadway work and performed on Broadway and TV and in many other films. He was a poet whose works were published in several books.

July 14, 2011

Right next door, at 681 Lincoln Ave., fans will find Old Man Marley’s house from the same movie. It was listed for sale at $3.1 million in 2014 , though it’s unclear whether the property ever changed hands. Roberts Blossom, who played Marley in “Home Alone,” died in 2011 .

Don’t have a spare $5.25 million to spend on your “Home Alone” experience? Try the 2006 game released for PlayStation and defend against a home invasion yourself. Or pick up a “Home Alone” Lego set. Created in 2021, the 3,955-piece set includes a Kevin McCallister figurine and a tree-house zip line that can be used to facilitate his escape.

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Speak No Evil

Speak No Evil (2024)

A family invited to spend a weekend in an idyllic country house, goes from a dream vacation to a psychological nightmare. A family invited to spend a weekend in an idyllic country house, goes from a dream vacation to a psychological nightmare. A family invited to spend a weekend in an idyllic country house, goes from a dream vacation to a psychological nightmare.

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Netflix's New Show Led By House Of The Dragon Actor Climbs Global Chart

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  • The show, directed by Declan O'Dwyer, has generated positive reviews for portraying a neurodivergent story with care.
  • Geek Girl debuted at #7 on the global chart, arriving ahead of shows such as Baby Reindeer and Queen Charlotte: A Bridgerton Story.

Geek Girl , the new Netflix show led by House of the Dragon actor Emily Carey, is climbing the streamer's global charts. Carey, who played the young Alicent Hightower in House of the Dragon season 1 , has had key performances in the recent Tomb Raider and Wonder Woman movies as the younger version of the titular characters. Now, with the well-reviewed Geek Girl , Carey steps into the spotlight and takes the lead role.

Since it arrived on Netflix on May 30, Geek Girl has begun making waves on the streamer's global Top 10 chart for English-language television shows. The series took the #7 spot overall for the week of May 27 through June 2 with 3.4 million views and 18.9 million hours viewed . It came in ahead of established hits like Baby Reindeer and Queen Charlotte: A Bridgerton Story , while the newest season of the latter property, Bridgerton season 3, took the top spot on the list.

What To Know About Netflix's Geek Girl Series

It's based on holly smale's novel.

Geek Girl sees Carey in the role of awkward high schooler Harriet Manners. Spotted by a London modeling agent during a field trip, Harriet jumps at the chance to reinvent herself. However, she moves from one fashion disaster to the next and soon begins to realize that the key to self-acceptance comes from well beyond the runway. The series is based on the 2013 young adult novel by Holly Smale , making it the latest in a growing line of YA shows and movies on Netflix.

Other popular YA titles include My Life With the Walter Boys, To All the Boys I've Loved Before, and The Kissing Booth.

This show arrives as House of the Dragon nears its return, albeit without Carey, as it will no longer flash back to a younger Alicent. Along with Carey, the cast of Geek Girl includes Emmanuel Imani, Liam Woodrum, Daisy Jelley, Rochelle Harrington, Tim Downie, Jemima Rooper, and Zac Looker. Behind the camera, the show is co-created by Smale and Jessica Ruston. Declan O'Dwyer, who also worked on Merlin and Killing Eve , directed all ten episodes. It is not yet clear if the show will return for a season 2 or not.

New On Netflix: All 96 Movies & TV Shows Arriving In June

May on Netflix is packed with new TV shows and movies including Bridgerton, Sweet Tooth, A Family Affair, and Hit Man.

Geek Girl has garnered largely positive reviews, though there haven't been enough to generate a Rotten Tomatoes score. Though some critics caution that the adaptation may appeal more to the target young adult demographic, there has been a lot of praise for Carey's performance and for telling a neurodivergent story with care but without limiting the narrative to only that purview. Though it is early days so far, the light and joyful fashion romp looks like it has the viewership to match with the acclaim.

Source: Netflix

Geek Girl (2024)

Cast Madeleine Price, Hebe Beardsall, Sandra Yi Sencindiver, Emily Carey, Alana Boden, Sarah Parish, Tim Downie, Jemima Rooper

Release Date May 30, 2024

Genres Drama, Comedy

Main Genre Comedy

Netflix's New Show Led By House Of The Dragon Actor Climbs Global Chart

Chinese EV makers, and their connected vehicles, targeted by new House bill

Self-driving taxis are tested on a street in Ordos, Inner Mongolia, China

Chinese EV manufacturers face a new challenge in their pursuit of U.S. customers: a new House bill that would limit or ban the introduction of their connected vehicles .

The bill, introduced by U.S. Rep. Elissa Slotkin, comes as the trade war between the U.S. and China heightens in the aftermath of the Biden administration’s decision to quadruple import duties on Chinese electric vehicles to 100%. 

Chinese EV manufacturers haven’t yet made significant inroads into the U.S., as they have in Europe. The bill’s goal appears to curb manufacturers before they can flood the American market with smart, cheap cars. 

Slotkin, a former CIA analyst and Pentagon official, has repeatedly warned Congress about the threat posed by Chinese-built connected vehicles. Earlier this month in a speech on the House floor , Slotkin outlined how the Chinese government has heavily subsidized its auto industry to sell advanced, low-cost EVs equipped with sensors like lidar, radar and cameras that are capable of collecting and transmitting data back to Chinese authorities. 

“If allowed into our markets, Chinese connected vehicles offer the Chinese government a treasure trove of valuable intelligence on the United States, including the potential to collect information on our military bases, critical infrastructure like the power grid and traffic systems, and even locate specific U.S. leaders should they so choose,” said Slotkin in a statement released Wednesday. “China owns a fast-growing share of the connected auto market in Europe and Mexico, so now is the time to make sure our defenses are up, before these vehicles enter the U.S. market.”

Last week, provisions that Slotkin championed — like a ban on Chinese connected vehicles at U.S. military bases and a prohibition on procuring Chinese-made lidar by the Department of Defense — made it into the U.S. government’s annual defense spending bill . 

Slotkin’s bill, called the Connected Vehicle National Security Review Act, if passed into law, wouldn’t just review EVs but also autonomous vehicles. A number of AV companies with ties to China, like WeRide and Pony.ai, have active permits to test in California. Alphabet’s Waymo also has a deal with Chinese startup Zeekr to produce purpose-built robotaxis. 

Waymo did not respond to TechCrunch’s request for comment on this bill.

How this bill will affect Chinese EVs

As far as EVs go, Volvo and Polestar have a presence in the United States, and both are owned by China’s Geely Automotive. The majority of Volvo vehicles are assembled in Sweden, and the next generation of Volvo vehicles for the North American market will be built in a recently opened plant in Ridgeville, South Carolina. 

A Polestar spokesperson assured TechCrunch that it doesn’t share personal data from North American and European customers with China, and that as the automaker is headquartered in Sweden, it’s required to comply with GDPR laws.

Regardless, this bill would not free cars built in friendly nations, or domestically, from scrutiny. If passed, the bill would give the Department of Commerce authority to review any sale, importation or other transaction that involves a connected vehicle “designed, built or supplied” by any company that’s at all connected with China or a country of concern. 

The bill takes traditional trade-restriction tools like tariffs one step further by potentially banning connected vehicles bound for the U.S. that are manufactured by Chinese companies in countries like Mexico. That could be aimed at carmakers like BYD, whose CEO Stella Li said in February that the automaker was shopping for a plant in Mexico . 

The bill would also give clear legal power to the Department of Commerce and other federal agencies to strengthen national security protections and prevent future administrations from undoing these protections, a move Slotkin said is not a hypothetical. 

Slotkin pointed to then-President Donald Trump’s order that would have given the U.S. authority to address security risks from social media platform TikTok, which is owned by Chinese company ByteDance. President Joe Biden in April signed a bill that would ban TikTok unless ByteDance sold the app. Trump, who is running for re-election this November, has since backtracked on his previous position and even opposed the efforts to force a sale. 

The U.S.’s elevated concerns over China’s data prowess come as Beijing relaxes rules that govern cross-border data flows. Tesla is reportedly trying to take advantage of this to get the green light to send its own connected car data back to the U.S. to train Tesla’s “full self-driving”  algorithms. 

Slotkin’s bill also comes as the Department of Commerce promises to issue a ruling on Chinese connected vehicles later this year, following the Biden administration’s launch of a probe in February into the national security risks of such vehicles. 

Slotkin plans to introduce the bill after June 3, once Congress is back in session after the Memorial Day recess.

This article was updated to include comment from Polestar. It was originally published at 8:55 a.m. PT.

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, the house that jack built.

movie review the house

Now streaming on:

Can a movie be both repulsive and captivating? Cinema’s enfant terrible, Lars von Trier, is back with one of his most challenging and confrontational films in a career not exactly known for playing it safe. Notorious for a Cannes response that included both a standing ovation and hundreds of walk-outs, “The House That Jack Built” is finally available to American audiences, in limited release and on VOD in a slightly-edited R-rated cut. Don’t worry. The “thrust” of von Trier’s vision remains to such a degree that it’s even hard to believe this version got an R (which raises the key question of “why bother cutting it at all?” but that’s for another piece). So what is that vision? It’s one that compares artistry with murder as the director draws direct lines between creating art and taking lives. The film finds von Trier wrestling with the claims of misogyny and misanthropy that have followed him his entire career, but not in the way you’d expect. If anything, he leans into both, daring you to look into the abyss with him as he interrogates his own dark side and banishes himself to the underworld. 

Jack ( Matt Dillon ) is a prodigious serial killer. He has killed dozens of people and he’s on his way to literal Hell, accompanied by a man who calls himself Verge ( Bruno Ganz ), modeled after Dante’s Virgil. As they travel through the circles of Hell, Jack describes five of his most brutal crimes, and we witness the evolution of a madman. His first “incident” took place when he picked up a woman ( Uma Thurman ) on the side of the road after she got a flat tire. The woman, never named, berates Jack constantly, wondering aloud if he’s a serial killer but basically calling him too weak to be one. After he's had enough, she gets a tire jack to the face. Get it?!?! A jack from Jack! Your tolerance for that kind of dark meta-humor will dictate a lot of your response to “The House That Jack Built.”

Jack’s crimes get more insanely violent and reprehensible, and nothing is off limits for von Trier. Jack murders a woman in her living room, guns down a family on a hunting trip, and in the film’s most misguided sequence, cuts off the breasts of a woman he has verbally berated and nicknamed “Simple” ( Riley Keough ). He tells her he’s going to do it. In fact, he’s constantly calling attention to his crimes, whether it’s the mechanic who saw him with his first victim or the guy he waves to on the porch of his second. Von Trier has claimed that there’s something of a Trump allegory at work in “ Jack ,” and it’s likely at least in part in how brazenly Jack commits his crimes. He’s almost begging to be caught, but no one seems to care enough to do so.

But, of course, despite pleas to see it as a Trumpian allegory, Jack is more of a stand-in for von Trier himself. He not only envisions his elaborate murders as works of art but arranges the bodies afterwards into an increasingly morbid tableau. He keeps the corpses in a giant walk-in freezer, and delights in moving them around like, well, a director moves actors on a screen. And Jack is something of an obsessive-compulsive, another trait he likely shares with a man who made a movie like “ The Five Obstructions ” (in which a director had to follow specific rules like, well, a serial killer who needs his crimes to be executed to perfection). And von Trier has been accused of misogyny on-screen and off, so it shouldn’t be surprising that Jack’s victims are mostly naïve women, although it's sometimes hard to watch.

What does all of this add up to? The film’s final stunning 20 minutes feature some of the most striking imagery of von Trier’s career, but you have to get through the torture of “Simple” and the shooting of children to get there. Is von Trier castigating audiences a la Michael Haneke ? Or is he almost parodying himself just to get a rise out of people? There’s a fine line between art and provocation, and the best parts of “The House That Jack Built” seem to be interrogating that line. Is this art? Is this vile? Can it be both?

So, is “The House That Jack Built” hollow provocation or dense commentary? I’m honestly not sure yet. It’s undeniably too long (153 minutes), often meandering through the same points over and over again in a way that becomes numbing, but there’s something more complex here than I think its critics are willing to see. Don’t get me wrong, I understand not being willing to dig through the horrors of this movie, and/or presuming there’s nothing to unearth, especially given von Trier’s track record of playful misanthropy. But von Trier remains a fascinating conundrum to me—a director who sees violence and pain on the same artistic spectrum as love and joy. Some might look at “The House That Jack Built” and say it’s completely lacking in the empathy we so often want from our artists, but I think von Trier would disagree, arguing that empathy requires understanding the entire human condition and not just its good side.

Does that make for entertaining or even thematically engaging cinema? Not always, and if anything frustrates me about “The House That Jack Built” it's that it feels less focused than his best recent work (“ Melancholia ,” “Nymphomaniac”). Some of the long conversations about art are naval-gazing garbage that would get someone kicked out of a college class. Ultimately, it’s more of an inconsistent cry into the void than the conversation starter it could have been. Most of all, like the serial killer who literally tells a cop about his crimes, von Trier just wants you to pay attention to him. Repulsed or fascinated—he doesn’t really care as long as you see him. It's up to you to decide if he's worth seeing. 

Brian Tallerico

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

The House That Jack Built movie poster

The House That Jack Built (2018)

153 minutes

Matt Dillon as Jack

Bruno Ganz as Verge

Uma Thurman as Lady 1

Siobhan Fallon Hogan as Lady 2

Sofie Gråbøl as Lady 3

Riley Keough as Simple

Jeremy Davies as Al

  • Lars von Trier

Writer (story by)

  • Jenle Hallund

Cinematographer

  • Manuel Alberto Claro
  • Jacob Secher Schulsinger
  • Molly Malene Stensgaard

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IMAGES

  1. The House Movie Review & Film Summary (2017)

    movie review the house

  2. The House movie review & film summary (2022)

    movie review the house

  3. HBOWatch Movie Review: "The House"

    movie review the house

  4. HBOWatch Movie Review: "The House"

    movie review the house

  5. Film Review: The House

    movie review the house

  6. The House

    movie review the house

VIDEO

  1. The House

  2. House with special children😨 #movie #series

  3. His House Movie Review/Plot in Hindi & Urdu

  4. House's best friend decided to sneak into his house. 😮😃#movie #series

  5. The Night House

  6. The House By The Cemetery

COMMENTS

  1. The House movie review & film summary (2022)

    Nick Allen January 14, 2022. Tweet. " The House " is an animated anthology with an inspired narrative focus, as it tells the history of one building, across time and species. Written by Enda Walsh and directed by different filmmakers for each one, "The House" hones in on the anxieties that come with a home, whether it's the control that ...

  2. The House review: an unsettling stop-motion anthology on Netflix

    The House begins streaming on Netflix on January 14th, and it's a creepy stop-motion anthology that calls to mind the works of Laika Studios. ... Movie Review; Netflix's The House is an ...

  3. Netflix's 'The House' Is An Unsettling Stop-Motion Film ...

    The House on Netflix is a new stop-motion animation film that combines comedy and horror, featuring the voices of Matthew Goode, Helena Bonham Carter, and more. Read Decider's review.

  4. 'The House' Netflix Review: Stream It Or Skip It?

    Stream It Or Skip It: 'The House' On Netflix, An Animated Dark Comedy About A Big Creepy House In Three Different Timelines. By Joel Keller @ joelkeller. Published Jan. 14, 2022, 2:30 p.m. ET ...

  5. The House Movie Review

    Our review: Parents say ( 2 ): Kids say ( 8 ): This oddball animated film for adult viewers picks up steam over the course of its three chapters, with the last 30-minute tale providing the most emotionally satisfying of the three. The first chapter of The House is a disconcerting story of a doomed family that movies into a haunted house.

  6. The House: Season 1

    97% Tomatometer 36 Reviews 76% Audience Score 250+ Ratings Across different eras, a poor family, an anxious developer and a fed-up landlady become tied to the same mysterious house. Read More Read ...

  7. The House (2022)

    The House: Directed by Paloma Baeza, Emma De Swaef, Niki Lindroth von Bahr, Marc James Roels. With Mia Goth, Matthew Goode, Claudie Blakley, Eleanor De Swaef-Roels. Across different eras, a poor family, an anxious developer and a fed-up landlady become tied to the same mysterious house in this animated dark comedy.

  8. The House Review

    The House is a stop-motion visual delight. The three-story anthology explores the many definitions of what a house can be using different tones and techniques. It also proves the vitality that ...

  9. The House (2022 film)

    The House is a 2022 British stop-motion animated anthology film written by Enda Walsh and telling different stories forming a trilogy spanning different worlds and characters but set inside the same house. Each story deals with themes of madness, wealth, and the pursuit of true happiness. Originally announced as a television miniseries, it became an anthology film.

  10. The House Movie Review

    Positive Messages. Well-meaning as it might be, there are better ways. Positive Role Models. Public officials are corrupt, parents run an illeg. Violence & Scariness. Surprising amount of violence for a comedy: A man'. Sex, Romance & Nudity. Man briefly seen nude from the rear.

  11. r/movies on Reddit: The House Review: A Creepy, Strange, And Ultimately

    Part 3 - the only part with a redemptive ending is the only part where the aim of improving the house is for the pure reason of that being what the house deserves. She has no desire for money and is not greedy, she just wants the house to achieve it's potential. When there is pressure around finances is when things go wrong for her/the house.

  12. The House (2021)

    Rent The House on Prime Video, or buy it on Prime Video. A government banned journalist and his wife retreat to their high-tech vacation home, but the smart home's artificial intelligence soon ...

  13. The House (2022)

    Though 'IMDb' lists 'The House (2022)' as a TV series*, 'Netflix' presents it as a feature-length affair and plenty of online sources (including 'Wikipedia' and several reputable film critics) refer to it as a movie. As such, I'm going to consider it a feature film, making it the first film I've seen that was initially released in 2022.

  14. The House

    The House starring Will Ferrell, Amy Poehler, and Jason Mantzoukas. is reviewed by Matt Atchity (Rotten Tomatoes), Alonso Duralde (TheWrap and Linoleum Knife...

  15. The House movie review & film summary (2017)

    We get old and we get lame.". But "The House" escalates into such debauchery and depravity so quickly, it's jarring, and it depletes the film of essential comic build-up. All of a sudden, the casino features a fight club between housewives in yoga pants and a spa that provides massages with happy endings. The clientele includes Wall ...

  16. House of Gucci movie review & film summary (2021)

    Unsurprisingly, visual design is how "House of Gucci" leaves its strongest impression. With a story set across Rome, Milan, New York and even the Alps—where Maurizio and Patrizia vacation, and an incredible Camille Cottin makes an appearance as Maurizio's romantic-interest-to-be—the movie highlights the luxury and lavishness of the Gucci lifestyle with grace and utmost attention to ...

  17. Netflix's The House: All 3 Story Endings Explained

    The House's first story, titled "And heard within, a lie is spun," takes on the atmosphere of an old folk tale and ends in a grim manner reminiscent of those kinds of stories.After being neglected by their parents, Mabel and Isobel, the two children of the family, escape the burning mansion after their parents are transformed into furniture; the father into a chair, and the mother into curtains.

  18. The House (2021)

    When a repressive government bans journalist Johann from plying his trade, he retreats with his wife, Lucia, to their high-tech vacation home. Soon, however, the smart home's artificial ...

  19. House

    Rated 3/5 Stars • Rated 3 out of 5 stars 05/07/24 Full Review Korra N Bizarre, offbeat and zany, HOUSE is a wild horror movie with dark comedy that any horror fan should go into blind. It's a ...

  20. 'Amazon Was Very Clear': Jake Gyllenhaal Wasn't Bothered by Road House

    This year, Amazon MGM Studios released a reboot of the 1989 film Road House, starring Jake Gyllenhaal in the lead role.Despite the controversy surrounding its release on the studio's streaming platform, Prime Video, the actor clarifies Amazon's intentions regarding the movie.

  21. Jake Gyllenhaal on Presumed Innocent Series, Road House, Othello

    Jake Gyllenhaal pulls his glasses out of his jean jacket pocket, the Coke bottle lenses in them strong enough to correct his 20/1250 vision. Yes, you read that right. These are not Internet ...

  22. The Good House movie review & film summary (2022)

    Based on the novel by Ann Leary, the romantic dramedy "The Good House" touches on some piercing and deeply relatable truths about drinking, and about women's drinking in particular: that it gives us swagger, that it helps us hang with the big boys, that it lets us present the best version of ourselves to the world.

  23. 'Home Alone' house listed at $5.25 million, minus the booby traps

    The house made famous by the 1990 blockbuster film "Home Alone" has hit the market in Winnetka, Ill., with a $5.25-million asking price. The 671 Lincoln Ave. residence, 20 miles north of ...

  24. Speak No Evil (2024)

    Speak No Evil: Directed by James Watkins. With James McAvoy, Mackenzie Davis, Aisling Franciosi, Scoot McNairy. A family invited to spend a weekend in an idyllic country house, goes from a dream vacation to a psychological nightmare.

  25. Netflix's New Show Led By House Of The Dragon Actor Climbs Global Chart

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