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The House also features some of the best-looking stop-motion animation you’ll see outside of a Laika film. 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. 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. What’s most interesting about The House is how each story offers a different riff on this theme.
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So they rely on the annual scholarship the town awards—only this year, soulless city councilman Bob (Kroll) plans to use that money for a lavish community pool. Jason Statham plays a beekeeper who is actually part of a clandestine organization called the Beekeepers. Everyone in the Beekeepers isn’t necessarily a beekeeper in real life, but the complexities of The Beekeeper’s world-building fade away the second that Statham threatens to burn a whole building to the ground ... The first tale, titled simply “Story 1,” is directed by Marc James Roels and Emma de Swaef, a Belgium stop-motion filmmaking duo.
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After a visit from wealthy, condescending relatives, Raymond wanders drunk into the forest at night and encounters the mysterious architect Mr. Van Schoonbeek. The following morning, Van Schoonbeek's employee Mr. Thomas visits the family and convinces Raymond and Penny to accept Van Schoonbeek's offer to move into a new luxurious house built for them at no charge. Back home, Frank convinces the Johansens to start an underground casino at his house to raise money for Alex's tuition and to help him get his wife back. The casino operation proves to be running smoothly as they gain more customers. In another community town-hall meeting, Bob becomes suspicious at the low attendance and suspends the meeting to launch an investigation.
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Bob runs back to the town hall on foot to find the Johansens with the money. After chasing the Johansens, Bob reveals his personal interest with the casino money as well as his plot to steal money from the city budget for himself and Dawn, who leaves him and returns to her husband Joe. Bob is arrested, while Scott and Kate use the money they took back from him to pay for their daughter's college tuition. The foundation for the anthology is established by the gothic cloth animation of Emma De Swaef & Marc James Roels, who previously orchestrated the colonization mini-anthology short “This Magnificent Cake! ” Their eye for towering sets, intricate stark detail, and characters with tiny eyes and mouths continues here, with a slow burn tale about a family that suffers from a Faustian homeowner bargain.
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Rosa, the landlord who cherishes the memories of her days growing up in the house, dreams of restoring it to its former glory. However, she struggles financially; and her only tenants, fisherman Elias and hippie Jen, do not pay rent despite her insistence; she consistently ignores their attempts to address the rising water. After the family moves in, Mabel notices several peculiar things about the house and the workers constantly refitting it, but her parents are mesmerized by the house and its luxuries. Raymond becomes increasingly obsessed with the house's fireplace, which he constantly fails to light up, while Penny spends more and more time sewing drapes. Mabel becomes further put off when her parents don attire designed by Van Schoonbeek which resembles the furniture they adore (a chair and curtains). In Monkey Man, star (and first-time director!) Dev Patel creates his own John Wick–type hero who is on a mission for revenge across India.
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The second story, directed by Swedish animator and filmmaker Niki Lindroth von Bahr, takes things from “gothic children’s fairy tale” creepy to straight-up horror movie creepy. He’s in over his head—the place has a nasty infestation of wriggly, crawly bugs that won’t go away with simple spraying. But despite his disastrous showing, an old, unsettling rat couple is “very interested” in the house. It soon becomes clear that the couple is scamming the scammer right back. To say it doesn’t end well for the contractor is putting it mildly—the final, haunting shot is an image so viscerally disturbing, so relentlessly bleak, that I’ll be thinking about it for weeks to come. And yet, it is also an artistic triumph achieved by destroying such a meticulously-built set.
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The house burns down after being invaded by Papouli, whom the Johansens set on fire. Having admitted their plot to Alex, they team up with Chandler, who had let them loose, to steal the money back from Bob. Chandler convinces Bob that the three continued the casino even after he had ordered them to stop, and shows a video of the people mocking him.
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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, 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.
He tries communicating his fears to his next-door neighbor Harold Gorton who only thinks that Roger is crazy. The House squanders a decent premise and a talented cast on thin characterizations and a shortage of comic momentum. Cohen cuts so briskly from each scenario to the next that they never register. And the most significant shift of all—the one that occurs within Scott and Kate—is the most extreme and the least plausible. Out of nowhere, she’s smoking pot non-stop and he’s reinvented himself as an enforcer known as “The Butcher.” They start wearing flashy, gangster-style clothing.
The plot tells the story of a troubled author who lives in his deceased aunt's house and soon falls victim to the house being haunted. It collected $22.1 million worldwide, and was followed by three sequels. The third and final story of The House, directed by Paloma Baeza, ends, thankfully, on a more uplifting note. A landlady named Rosa (voiced by Susan Wokoma) is determined to pursue her life-long dream of fixing up a crumbling but beautiful Victorian home, despite the fact that a devastating flood has driven away almost all of her residents. The two that remain, Elias (voiced by Will Sharpe) and Jen (voiced by Helena Bonham Carter), know that they too must move on soon, as the water will fill the house within a matter of days. She blithely continues to re-paper walls and fix floorboards, stubbornly sticking her life plan, despite the fact that a catastrophe has clearly uprooted it.
The House is a 2017 American comedy film directed by Andrew J. Cohen, and co-written by Cohen and Brendan O'Brien. House is a 1985 American comedy horror film directed by Steve Miner, with a screenplay by Ethan Wiley, from an original story written by Fred Dekker. Produced by Sean S. Cunningham, the film is the first installment in the House film series, and stars William Katt, George Wendt, Richard Moll, and Kay Lenz.
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