By Christopher Houtz
Now when you think of Nazi’s do you get a warm fuzzy feeling? Yeah, me either. Which is kind of what puts me at odds with this film. The House does have a pretty decent creep factor, some nifty little jump scares, a couple (and I really do mean just a couple) disturbing images, but who in the holy hell did writer/director Reinert Kiil make this movie for?
Ain’t no millennials gonna dig on this thing. It’s a slow burn. Those of us a generation older may not remember the holocaust, but we grew up learning about it in school and watching all those old Audy Murphy/John Wayne WWII movies where the Nazi’s are just plain evil. Kids shouldn’t watch this thing, no way they could understand it. So when you have two lost Nazi soldiers and their prisoner stumble across an isolated house seeking shelter (that turns out to be a some kind of…freaky vortex, haunted….something) it’s pretty hard to give a wet shit, know what I mean?
Still and all, you come to care about the characters a little as they slowly reveal themselves as scared human beings, with guilts, fears, and a whole lot of confusion. I mean seriously, lots of confusion. What we essentially have here is your standard haunted house movie. The House has slamming doors, opening windows, a radio that turns on by itself, and all the usual conventions. And actually, all of it is fairly well done.
You take all of that, throw in some possession, some oddball – out of nowhere – quantum time loop non-sense, turn it upside down, shake it like a snow globe, set the whole thing in Norway during World War II just to make it unique in some way and film it with lots of white and gray shots, with Nazi protagonists and what you get is a pretty bleak, tense, and fairly creepy little flick.
Is The House a masterpiece of cinema? Nope. Is it a fun ride? Not really. But it is effectively tense, odd, and just scary enough that if you haven’t seen (as the great Joe Bob Briggs once said) a million of these things, you may enjoy it. I know I did.