Rating: R. Runtime: 85 min. See All Details and Credits. Watch Now. Stream On. Buy On. Critic Reviews. Silent House is smart about its scares as well as its delivery method. Read full review. IndieWire - Eric Kohn Mar 7, The long take pulls you into the realism of the moment, heightening any sense of unease already established by the story. Rolling Stone - Peter Travers Mar 8, Austin Chronicle - Marc Savlov Mar 8, Its most remarkable featis sustaining the level of forebodeingly atmospheric suspense.
The film's most interesting aspects are its gimmicks rather than its frights. The film is at its best as a fast-paced enigma.
The Long Take In ‘Silent House’ Is Effective, But to What End?
When Kentis and Lau start explaining what's actually going on, Silent House takes a turn not just for the worse but the ludicrous. Slant Magazine - Ed Gonzalez Mar 4, Silent House dies a sudden and egregious death when the amateur players in Olsen's company, Adam Trese and Eric Sheffer Stevens, as her character Sarah's father and uncle, respectively, open their traps. User Score. Write a Review. User Reviews.
Sekto Mar 9, In today's world of movies, it's hard to find a decent film. Although the trailer looked thrilling, I came onto Metacritic, saw the critic reviews and said "Well, it can't be that awful".
Silent House – review | Film | The Guardian
Take my advice, this was quite possibly one of the worst movies I have ever seen. The story was In today's world of movies, it's hard to find a decent film. The story was dreadful, the scares were nothing, and the acting was top notch horrible. Save the money, and get it on video if you're that desperate. This is well done smart little film. The acting is terrific as it takes you into a world of sheer terror. You cannot get away from the any scene as the single shot concept creates an atmosphere that make it impossible to look away or catch your breath.
DanielOnFilm Mar 9, Silent House is a stylish nightmare of a movie, and one of the most terrifying experiences I've had at the cinema. This is the kind of film that will haunt you after you leave the theater.
It's a tour de force directorial effort from Chris Kentis and Laura Lau, who previously collaborated on Silent House is a stylish nightmare of a movie, and one of the most terrifying experiences I've had at the cinema. It's a tour de force directorial effort from Chris Kentis and Laura Lau, who previously collaborated on the thriller Open Water.
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Olsen carries the film on her shoulders, and there is not a moment we do not share her terror. Full review on my blog.
Shiira Apr 1, This review contains spoilers , click expand to view. A crime photo begets the crime scene, that's the function of the unforgettable last shot in Roman Polanski's Repulsion, where after an exploratory pan across Helen's apartment, the camera revisits and lingers upon an old family snapshot, bringing into sharp focus the dissonance behind this distinguished-looking bloodline, whose smiles suddenly seem put-on, as if this display of unconditional familial bliss, in actuality, is hiding a conspiracy.
You see the manicurist as a young girl looking off to the side with terrified eyes, commonly presumed by many to be trained on the old man seated in his chair, the manicurist's father. But on closer inspection, does the focal point of the young girl align with the old man, or is Carole attending to some malevolent presence in the black and white photo's negative space? From a kitchen window, Carole Catherine Deneuve observes the abbey across from her older sister's flat, and it's the positioning of the nuns, in which the filmmaker relegates the chaste women out getting some fresh air to the diegetical margin that seems conspicuous, since it alludes somewhat to the old picture, because like the unseen presence that scares Carole, the nuns are off to the side.
In Silent House, Sarah Elizabeth Olsen uncovers repressed memories of sexual abuse at the hands of her father interestingly, he has a biblical name , whereas Carole, quite possibly in which the nuns are meant to suggest more than her wish to join a convent , was molested by a higher "father", a priest, whose religious denomination could be described as a "silent house", when the subject turns to pedophilia.
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After all, the male figment that greets Carole at night in her bed looks nothing at all like her father. The would-be rapist, potentially, is the same man who, years ago, damaged a little girl irreparably, resulting in a grown woman rendered celibate due to her fear of sex, and furthermore, abhors sex outside the sanctity of marriage, which is why Carole the Catholic judges Helen the lapsed Catholic harshly for her affair with the married man, the older sister's part-time live-in lover.
Sarah, on the other hand, had a boyfriend, somebody that inspires John to say, "Princess, he doesn't deserve you," an ex who wants to reunite with his comely daughter.
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As it turns out, this fatherly concern, this obligatory bit of paternal love, so seemingly unremarkable, is the wrong kind of love, a latency that manifests itself at the crime scene, Sarah's childhood home, where the haunting is atypical for it being steeped in physiognomy instead of the usual metaphysical phenomena. Once it becomes clear that the dry rot has metaphorical properties that exceed its corporeality, the Polanski film rears its sex-hating head, because the dry rot is part of the same psycho-architectural language as the cracks that Carole projects onto the apartment walls.
Since Sarah, by virtue of the short conversation she has with dad about her love life, we know the woman has gone on dates, whereas the French wallflower thwarts a persistent suitor at every turn. It doesn't mean, however, that Sarah is any more social than Carole, as evidenced by the pained expression in which she receives a hug from Sophia, an old friend, and the fact that this college-aged girl doesn't attend school, choosing instead to work for John's house restoration business.
Sarah's aversion to being touched, quite possibly, is a clue as to why things didn't work out with the beau. Maybe, similar to Carole, she can't get intimate, repulsed by a man's touch since her first sexual relationship was a grossly inappropriate one. Silent House, a remake of Gustavo Hernandez's La Casa Muda, differs from the Uruguayan film in that Carole may be less innocent than her counterpart, Laura, since the new film fleshes out the apparition of a girl from the original into Sophia, all grown up, a young woman who may have been victimized not only by Sarah's father, but Sarah herself, an exploited girl who may have played the role of her father's collaborator, a suggestion made valid by the fact that she is still working for John, albeit now for a legitimate enterprise, and not child pornography.
Brian remembers, though.
Similar to how a youth baseball coach employs Neil to lure other boys, Sophia may have been recruited by Sarah, in which both children were under the specter of a sinister man. Brian, growing up, fosters the notion that he was abducted by aliens, thereby transmuting Mysterious Skin into a faux science fiction film. Likewise, Silent House is not a horror movie. The subject in both films are deposited in a speculative genre piece as a filmic salve to deal with, and, ultimately, postpone the inevitable bombshell that there are no aliens, or in Sarah's case, things do not go bump in the night by their own volition.
MovieReviews Jun 11, Despite having some flaws, the different style of filmmaking makes a noticeable impact on the viewer, suspense wise, having different levels of tensions that doesn't reveal the story until the complex, somehow disappointing third final act. Sarah is struggling in this movie to survive, and Despite having some flaws, the different style of filmmaking makes a noticeable impact on the viewer, suspense wise, having different levels of tensions that doesn't reveal the story until the complex, somehow disappointing third final act.
Sarah is struggling in this movie to survive, and that is why the ending actually disappointed some people, the ending made a huge payoff, while having the rest of the 80 minutes first and second acts useless, just when the twist is revealed it falls flat and disappoints in patterns. Now, remaking the Uruguayan film La Casa Muda , they revive its central gimmick: The film unfolds in real time and appears to have been filmed as a single, uninterrupted take. The atmosphere helps. Olsen, her father Adam Trese , and her uncle Eric Sheffer Stevens wander around carrying electric torches that make the aging, water-damaged wallpaper look even more unsettling than it would in natural light.
Then she hears a violent thump and discovers her dad has disappeared. Left alone, and aware someone else has entered the house, she realizes she has to find her way back downstairs and find a way out, in spite of not having a key to any of the locked doors. What follows is pretty scary.
Olsen is tremendously effective, stopping herself from screaming as she hides beneath a table, and when the situation calls for it, rallying hidden pockets of composure, adjusting her hair, and getting down to the job of staying alive. But what follows the opening volleys of terror proves much less scary.
Or worse, dull.