Jocelin Donahue, Tom Noonan, Mary Woronov, Greta Gerwig, AJ Bowen ...( see more  see more... ) , Dee Wallace , Heather Robb

In the 1980s, college student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret; they plan to use her...( read more  read more... ) in a satanic ritual.

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51% liked it

42,527 ratings

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86% liked it

63 critics

R, 1 hr. 33 min.

Directed by: Ti West

Release Date: October 30, 2009

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DVD Release Date: February 2, 2010

Stats: 1,008 reviews

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Flixster Reviews (1,008)


  • January 17, 2010
    80's is, in my opinion, up on the top 3 of the best decades for horror movies. The 70's, 80's, and 90's schooled horror. I always wished, starting around the late 90's, that they would make a horror film that had the feel to an 80's horror movie. And by "feel" I mean the whole pa...( read more)ckage. The graininess/or watered down color, the faint audio sound, clothes, props, and stage design. The typical slasher score, followed by an 80's retro or rock soundtrack. And how can it be 80's horror without that cheesy dialogue? And don't forget the shabby performances and the big breasted virgins hiding in all the wrong places. Yes, those were the feel good frights of the 80's. The full on package of a great slasher film. Of course we've been greeted to some good horror which takes place in such a decade, along with some 80's stylized ingredients, but in the end it didn't feel like it was anything more than just a movie from the now. And the answer as to why is pretty simple, really. Those period horror flicks were missing two main factors. One being the important quality of color temperature, which can be dealt with when using older film stocks, even using a 16mm can help matters, as The House of the Devil did. Another factor are the audio tracks. Even in movies predating the 80's, more so in the 1900's (of course) through the 70's, you can hear a sort of scratchiness over the crisp blend of ambience. A visual doesn't always give the feeling of a different time and place in your surroundings, and for the most part you always know your position. But for a movie like The House of the Devil, the way it's shot, and if you're a die hard fan of 80's horror, it goes beyond the point of reminiscence and places you, mind and body, three decades back when horror was at it's prime. And it isn't because you're watching a fantastic, and almost flawless horror film, that's centered around the 80's. It's because, and as odd as this may sound, but for it's genius integrity behind the film, you are in fact watching a horror film from the 80's. As if time travel were possible for a film, and The House of the Devil holds the key.

    A lot of people have complaints about the movie's ending. The ending didn't bother me, but it didn't excite me either. To tell you the truth at that point, being that it was at the last two minutes of the movie, it could have ended any way for me. The last two minutes, heck, even less than that, wouldn't change the fact, nor would it put a dent, in how damn near perfect this film was. It really just opens things up for a sequel. Not that I'm anxious to see a sequel. And yes, it's sad to say, it'll probably blow in comparison, but who knows? Plus the more horror movies the better, at least that's how I see it. Or maybe it was that people were complaining about the last 20 minutes, when the killers come into play. I'm not really sure on which ending people were referring to. If that's the case than I totally disagree on that one. When the secrets of the mysterious family were revealed I found it fascinating, and it stirred some action into the mix, with great, gripping tension. You also have to keep in mind, it's exactly like a horror flick from the 80's, every damn inch of it, and the way I see it this should be compared with other horror films of the 80's. And I'll also add on that note, the "ending" here is no less interesting, no in fact, IT IS just as entertaining as many other horror films of the 80's. And as I make many comparisons to this film with horror from the 80's, and treat it like one for that matter, I'm sure director Ti West would be proud that some people, like myself, are comprehending his movie's vision.

    Everything before the somewhat violent finale is a creep fest. The tension just builds, and builds, and builds. It's not jaw dropping scary, but this film sure is a fun little spook fest to watch on a dark and stormy night. I would say it's like When a Stranger Calls meets Rosemary's Baby meets Halloween, but all set in the early 80's. Like I said before, this film has that part down pack. From the clothes, the hairdos, cars, scenery, you name it?

    The House of the Devil is a work of pure genius. It's one of my favorite horror films of 2009.



    "*** The film may provide an introduction for some audience members to the Hitchcockian definition of suspense: It's the anticipation, not the happening, that's the fun."
    - Roger Ebert

    "The House of the Devil deserves merits for its outstanding writing and filmmaking style, relying more on suspense rather than all out blood and gore. It is one of very few horror films this year that I can wholeheartedly recommend."
    - The Horror Review

    "The House of the Devil is the best -things that go bump in the night- genre film in a long time. By all means go and see it at the theatre if you can, but I think it would be every bit as good (or maybe even better) to see it at home, at night, alone, which is something I'll be doing as soon as I can get my hands on a copy of this amazing flick."
    - Dread Central

    "The House of the Devil is easily Ti West's most accomplished work to date and it's a film that both West and Dark Sky Films/MPI should be very, very proud of."
    - Bloody-Disgusting

    "It's an unpretentious film which asks the audience to go on a ride that downshifts from the in-your-face approach that's so in vogue these days-and rewards them with a good case of the creeps."
    - Fangoria

    "An excellent thriller that will surely deservedly gain a cult following in years to come."
    - Oh, the Horror!
  • December 6, 2009
    A slow simple tale of a babysitter having a really bad night that builds up to a nicely violent and bloody climax. Some movies attempt to imitate the 80's flavor (or lightly spoof it) but this one lovingly captures the best of that time dead on in every way. I swear it feels, loo...( read more)ks and sounds like it came straight out of 1980. I'm not of a fan of Ti West's previous films but this one has made me take notice and see him in a different light.
    If you only see one babysitter movie this year then see this devilishly good time.
  • December 2, 2009
    "Throwback" is a lovely little term that is, er, thrown around quite a lot these days. So are terms like "rip off" and "homage," but at least "throwback" is generally a positive term--at least when describing media. I suppose one could use it condescendingly, but it's typically s...( read more)een as at least neutral, if not generally positive. Horror fans in particular tend to sigh contentedly when using the term to describe a film. Most of us seem to have very set and distinct ideas of what horror film should do based on the ones we saw in our youth. Of course, I was an older youth (if you will) when I began to earnestly watch horror films, so I still can't quite lay claim to such an idea. Still, I was raised less on contemporary films and more on ones made before I was born (or old enough to follow movies). That said, the term usually applies to a tonal throwback, like Wrong Turn (I'm too lazy to double check myself, but I believe I described that film in such terms. You can dig up my review on it if you wish to come back and smarmily inform me I'm mistaken*). This is a throwback of a different kind.

    An opening block of text informs us that a great majority of the American population allegedly believed in Satanic cults in the 1980s, and that a large minority believed many of them were covered up. From this, we see young Samantha (Jocelin Donahue) looking at a house she's hoping to move in to under the eye of the home's landlady (Dee Wallace, first of a handful of genre nods in casting). The landlady has a "gut feeling" about Samantha and decides to cut her a deal on the rent and deposit, and Samantha is thoroughly appreciative. As she leaves, preparing to pay the $300 for rent the following Monday, she stops at a public posting board and takes down a slip for a baby sitting job. Calling the number from a payphone in front of her dorm, she leaves a message, only to be called back at the same phone moments later. A polite voice (that of Tom Noonan) answers and agrees to meet her shortly thereafter. She waits and waits, but the man, Mr. Ulman, does not show. She goes to a pizza place to get lunch with her friend Megan (Greta Gerwig), who is protective of Samantha for being mistreated by this callous stranger. When she returns to her dorm room, though, Samantha finds that Mr. Ulman attempted to call her back at the number she left and begs her to come down for the job that very night. Megan takes her out to the isolated house after she agrees, and they agree to split if the family seems too peculiar.

    Now, typically, a throwback in the modern age is a modern film that has the sensibilities of an earlier one--avoiding the post-Scream tendency toward self-awareness and "smart" characters (who know not to open "that door" or go down in the basement) and some of the other more cynical elements of modern horror. But they remain very modern films all the same. A huge smile spread across my face as Samantha walked down the street after agreeing to the landlady's terms. Of course, I smiled a little to see Ms. Wallace as well, but it was the opening titles** that really made me grin. They are backed by an 80s synth-beat and matched to grainy stock (I could swear it was 16mm, and a little research confirms this) with periodic freeze frames. I'm not talking "end of a sitcom" freeze frames, so much as the sort of enthusiastic matching of cutting a scene to fit a beat. It's used in a much more hip fashion these days, and often comes to more of a "slow motion" feel than actual freezing, but it's just absolutely perfect. I only smiled more as familiar names bumped in with the clunky yellow credits (the title not being stylized at all, and complete with "MMXVIII" copyright notice at the bottom) that I actually couldn't place at the time but knew I knew. Those names, of course, were Tom Noonan (who has been in a few movies I've seen, but I mostly know as The Monster Squad's Frankenstein) and Mary Woronov (who was a regular cast member for Paul Bartel).

    This is a lot of what makes the film. No one is running around listening to 80s hit after 80s hit (only one 80s hit is used, and it isn't one of those intensely iconic ones, though most everyone will know it, and it's used in an appropriate place and way) while they wear Jams, use Valley Girl dialects, feather their hair (okay, hair's feathered, but like it was, not to parody-style excess), play with Rubik's cubes and quote Max Headroom. It looks more like someone found this film in a box somewhere, shelved 30 years ago. It's brilliantly done, with nods and winks, but all of them the kind that you leave you thinking, "Oh, perhaps he was just blinking..." I'd not heard of Ti West prior to this, but I shall have to keep an eye on him. So how does it fit in, really? How is it a throwback? How does it work now? Well, this is a quieter, slower movie (some strange review I read said West seems to want to be "The Terence Malick of horror films," which tickled me endlessly, but seems inaccurate--though I must admit I'd be curious to actually see that, even if I think it wouldn't actually work for horror) and less in the vein of what we often think of as "80s horror movies," and more like the smaller, smarter gems that only horror fans seem to know about. The film that kept popping into my head was the George C. Scott-starring The Changeling, but that was a much bigger film. There are hints of a very competent Last House on the Left, in the sense of not having tons of money behind the film, or perhaps the original The Amityville Horror--as if a director pulled out some competent unknowns and just put together a movie he thought would be scary.

    As any review of this film will tell you, the majority of the film is extremely tense buildup. It's "slow" and "boring" if you have that mindset--again, this is why I think of films like the above. This isn't The Texas Chainsaw Massacre, though it eventually builds into that sort of eyeball-clawing tension once the regular suspense finally bursts. It's good to know that going in, I suppose, though I tend to look at any such claims (or the reverse) with a wary eye, as I am reluctant to trust the opinions of others on both what is slow and what is not. But, as the review that mentioned Malick said, faulting the film for being "slow" is silly, as it fully intends to reel itself out slowly. It's not the overly funny (there's not really much humour, unless you just insist on finding the accuracy of it funny for some reason--some think the synth-beat opening is "hilariously hokey" for instance, though I just thought it set the tone perfectly, which does require admitting my ubiquitous soft spot for synth-based scores) sort of horror that we often associate with the 80s, which is why I specifically delineate it as early 1980s, before films like Fright Night took off, and when Friday the 13th was just a single movie. But it's got a little more grindhouse, a little more independence and underdog feel to it to accurately compare to that film (or any other slasher). I also found myself thinking of films like Rosemary's Baby--the more intelligent, less insulting variety of horror that's often occupying unnoticed nooks and crannies of horror shelves in collections public and private. The ones that a big-time horror fan often hands you excitedly and tells you is just fantastic.

    It's not amazingly ground-breaking or something fantastically new, but it's something that manages to perfectly achieve the idea of "throwback." The clothing is the way people in smaller 80s films dressed, the camera shots are deliberate and possibly a bit modern, but not distractingly so. The score is good and hits the right notes. The film doesn't wink broadly, nor does it condescend in other ways. Effects, while still physical, are very modern and very well done. It's just right for my tastes, so I'll admit I'm frothing a bit here, in the positive way. I was very excited to see it, and love the fact that a film with such a brilliantly old-school poster (seriously, the poster designs are fantastic, reminiscent, again, of the films it refers itself to) lives up to that feeling of being a lost film from that time. Even Noonan, Woronov and Wallace are just sort of there--as if this was just another of the many genre roles they've taken over the years, and not a clear nod, homage and treat for longtime fans, the way that Tarantino or Rob Zombie might use (and in Zombie's case, has used) them. There's nothing wrong with that approach, but this is something no one else seems to do--truly a "lost" 80s horror movie.


    *I know entirely too many people who are now grinning and rubbing their hands together, planning to do just that.
    **I've spent the last 20 minutes trying to find out who wrote them, I remember from the credits as I sat in the theatre that it was someone other than the film's primary composer, Jeff Grace, and I found a post by the guy who wrote it on a messageboard, but I can't find his real name. My apologies, sir, I seem to recall you are in fact male (double or triple my apologies if I'm not even remembering that part correctly), but no one seems to list your credit for them!
  • December 2, 2009
    (What the...)

    This advice is mainly aimed at the people on this site who are giving this Dantesque spectacle a 100% similarity match with Rosemary's Baby:
    Keep your braincell in a jar, and nurture it.
    Unique, singular items tend to be highly valuable in today's pursue for...( read more) rarity.

    The one positive aspect about this movie was the attempted effort in terms of visuals.
    As for the rest, and as I read in a title for one of its reviews, ""Lost 80s Classic" my ass".

    I may be coming across as overly critical.
    But I'm not.
  • February 7, 2010
    Great atmosphere and excellent pacing create some nice suspense in this one. This was a cool throwback and a lot of fun.
  • February 8, 2010
    This movie is worth the wait and the all the hype, its is really great at capturing the style of a 70's style horror movie, but still making the film timeless. Ti West did a great directing job here. Seriously a legitimate horror movie. The last 20 minutes rules.
  • February 6, 2010
    Well done throwback to 80's horror. The suspense was great, but may have went on a little too long.
  • February 6, 2010
    Took a while to hit it's paces but the suspense was there...should of had the old lady in it earlier cause man she looked scary!
  • February 3, 2010
    Really enjoyed this one! Really dug the early 80's look the filmmakers went for, even right down to the yellow text in the title sequence and credits. Very nice touch.

    Joceline Donahue was really charming as our heroine (or villain?). Tom Noonan played his usual typecast cr...( read more)eepy guy, but still he was fit for the role. The plot was quite good, and the ending was brutally enjoyable. Quite the bloodbath, and I'm glad the ending wasn't sugar coated.

    Check this one out!
  • February 3, 2010
    cigarettes, phones with cords, cassette tapes?! this is the best horror film to be made in at least 20 years

Critic Reviews


December 3, 2009
Ty Burr, Boston Globe

West, a rising young director of minor cult pleasures, comes clean here about his love for all things Bava (Mario) and Carpenter (John). full review

November 12, 2009
Roger Ebert, Chicago Sun-Times

The film may provide an introduction for some audience members to the Hitchcockian definition of suspense: It's the anticipation, not the happening, that's the fun. full review

October 30, 2009
Kyle Smith, New York Post

Although the payoff is creepy, it takes a little too long to arrive -- and when it does, it's about as worn-out as the movie's title. full review

October 30, 2009
Stephanie Zacharek, Salon.com

The House of the Devil is really a romance: a love letter to the kind of gal we thought had given up the ghost. full review

October 29, 2009
Claudia Puig, USA Today

West avoids cliché and cheesiness with wise casting choices. Donahue's naturalistic performance is as persuasive as the subtly sinister portrayals by Tom Noonan and Mary Woronov. full review

May 3, 2009
Nick Schager, Slant Magazine

Yet another of this year's homage-facsimiles, The House of the Devil forgoes campy self-awareness in favor of reverential faithfulness--and in doing so, implicitly critiques contemporary horror cinema. full review

View more The House of the Devil reviews at RottenTomatoes.com

Comments


  • lovecyn4ever
    November 3, 2009
    I will have to agree with "Cinema Blend".Nearly the entire film, save for the last 20 minutes, is just a buildup to the grand not-so-horrifying finale.

  • agouda29
    October 27, 2009
    i want to see this movie coz i know that i will like it.

Critic ratings and reviews powered by RottenTomatoes.com

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