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All the while, you get caught up in the world, but you’ll be reminded of the artistic achievement with wide shots that reveal an elaborate diorama, like a scene where Raymond watches from the window while his old home is torn down. It’s moments like these where you’ll marvel at the sheer creation of it all, a story created not just with words but physical objects. As the water and mist continue to seep into the house and Jen prepares to leave the house with Cosmos, she puts Rosa into a dream-like trance, in which Rosa sees the house destroyed and her friends abandoning her.
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Each tale—which, while animated, are dark and creepy and morbid and decidedly not for young children—centers on a different house. The houses are beacons of corruption, objects of scams, and symbols of thwarted dreams. The protagonists move into them, out of them, fix them up, tear them down, and ride them off into the sunset. And with all three houses come lessons about materialism, about deception, and about letting go.
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They all begin to believe that "The Cleaver" is tormenting them from beyond the grave, as he promised in his final moments. A parapsychologist named Peter Campbell that the family hires, proports that the killer must have made a deal with the devil prior to his execution, allowing his spirit to return and haunt the family. Campbell warns that the only way that they will be able to escape the cursed soul of Jenkins, is if they destroy his spirit. By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.
Netflix’s ‘The House’ Is An Unsettling Stop-Motion Film With Something To Say
Since they’re the house—and the house always wins—they should make enough money to pay for Alex’s college education in no time. A young girl named Mabel lives with her father Raymond, mother Penny, and newborn sister Isobel in relative poverty. 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. The plot of the first film was based on an original story written by Fred Dekker, with subsequent movies being based on his initial concept.
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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. Though lacking the dark and gruesome imagery of the first two stories, it was this one that hit me the hardest, as I and so many of my friends have put our lives on hold indefinitely for the pandemic, again.
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The Natives resided on the land prior to that of the Cobb family, and viewed it as sacred-natured. Raymond’s wife Penny (Claudie Blakey) is hesitant at first, but she quickly gets on board when she sees the house comes with a top-of-the-line sewing machine. Husband and wife are so enchanted by their new possessions—a magnificent fireplace, electric light bulbs, fine fabrics—they completely ignore their two children, Mabel (voiced by Mia Goth) and the baby Isobel. I won’t spoil the story’s ending, but it comes with a macabre, Edgar Allen Poe-esque twist to ensure they pay for their sins.
By Andrew Webster, an entertainment editor covering streaming, virtual worlds, and every single Pokémon video game. Every so often while watching The House, a new stop-motion film on Netflix, I would remember that every single frame had been meticulously set up and photographed, and my mind would be blown all over again. “The House” is the rare raunchy comedy that actually could have stood to be a little longer—and not just by padding the running time with outtakes. The House squanders a decent premise and a talented cast on thin characterizations and a shortage of comic momentum. When Jen's "spirit partner" Cosmos (a craftsman) arrives to visit, Rosa enlists him to work on the house; but is infuriated to find out he has instead been tearing up the house's floorboards to build a boat for Elias.
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Bob is arrested, while Scott and Kate use the money they took back from him to pay for their daughter's college tuition. 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.
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Several thousand dollars away from reaching their goal, they are caught by Bob and Officer Chandler, who confiscate their money and order them to close down the casino. 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. Bob asks Chandler to go with him to arrest the Johansens at the casino, which gives the Johansens the chance to steal their money back. Dawn Mayweather, the town treasurer, alerts Bob that the Johansens are in the town hall, which convinces Bob to go back. 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.
As Cosmos continues to refit the house against Rosa's wishes, Rosa argues with Elias; hurt that he wishes to leave, while he accuses her of being afraid to do the same.
During the process, Jenkins promises revenge in his final words, just prior to being electrocuted. After his death, the McCarthy family moves into a new home and try to move on from the horrific events. Despite this, evidence begins to come form, which calls into question McCarthy's association to the victims of the murderer. As an investigation ensues, strange occurrences take place and terrify the family within their home.
“The House” is an animated anthology with an inspired narrative focus, as it tells the history of one building, across time and species. With its rising directors each employing a surreal style, it creates a rich balance of ethereal, existential storytelling with stop-motion animation that’s so detailed and alive you can practically feel it on your fingertips. 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.
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