‘The House on Pine Street’ (2015): Top-Notch Psychological Haunted Horror
Aaron Keeling’s The House on Pine Street is about a pregnant woman named Jennifer (Emily Goss) who thinks her temporary home might be haunted.
Aaron Keeling’s The House on Pine Street is about a pregnant woman named Jennifer (Emily Goss) who thinks her temporary home might be haunted. The problem is, she’s only staying at the place because she recently went through a mental breakdown of sorts. Adding to our sense of mystery, we have limited knowledge of what that breakdown entailed. As her life goes from bad to worse, we’ll probably hope that Jennifer finally begins to find some peace and hope for a happier future. However, what seemed to be new hope of happiness turns into an indescribable nightmare.
This is, in many ways, a suspense movie. Although it’s a haunted house movie, we’re never quite sure where it will go next. Will the hauntings (or her imaginings) remain subtle or grow increasingly violent? Will these real-or-imagine spirits be mere pranksters or will Jennifer’s unborn baby be turned to ash from a three-alarm fire? You don’t quite know. Basically, I knew this was a good movie because it had me wondering if Jennifer would be forced to watch her young family burn. It had me imagining freaky scenarios independent of the actual scenes. Jennifer fights for her life and a chance at a new life, but it increasingly seems impossible.
I’m guilty of overusing the word “dynamics” as a writer. However, it so often rightfully applies. Here the dynamics obviously involve family and psychological disturbance, blending with possible paranormal hocus pocus. The House on Pine Street also carries that dread of family dysfunction. At a time when Jennifer should be overcoming all obstacles, she awkwardly reunites with her mother, Meredith (Cathy Barnett). feeling forced to do so and resenting Meredith for it.
There is obviously some sadness here, as no healthy person wants to dislike their parent — someone responsible for their very entry into the world. The discomfort carries over into a social gathering where, possibly, a man named Walter (Jim Korinke) invigorates Jennifer’s interest in the supernatural presence in her temporary home. Might the hauntings just be her imagination, brought on by delusions triigered by a roomful of family and friends? At first, Jennifer calmly and emphatically tells her husband (Taylor Bottles) of her suspicions, but it ends up getting more frantic as her fears intensify. So, while we don’t fully know her origins, her history, her hopes and her dreams, it could potentialy bring tears to the eyes of sensitiveviewers. We only get glimpses of her life, her childhood, her formative experiences, etc. However, we know she fears there will be an upcoming funeral.
More Reasons You Should Appreciate ‘The House on Pine Street’
I don’t wish to sound overly-excited about this or any movie, but what can I say? This is a haunted house movie done right. In fact, this might be one of the greats, as other critics have hinted at. So am I just trying to fit in with them, to maybe hobnob with better-established reviewers than myself? I assure you, I am not. This is a small, perhaps rare example of my actually agreeing with many snooty critics out there (that and The Blair Witch Project, which I side with supportive critics on).
Anyway, like any decent haunted house movie, this one makes us examine the everyday, the inane. You’ll find some of the most gruesome and unnerving objects in her house are not conventional murder weapons, but anything that could conceivably be moved or manipulated. Also, Jennifer must face her own fears to discover the identity of the mysterious force menacing her. Then again, what if it’s all in her own head?
This movie is better than plenty of franchise favorites, honestly. I mean, Hellraiser: Bloodline? Bah! Pinhead in space isn’t scary! A movie is much scarier if it makes you examine the space in your own head. This movie is definitely good if, on occasion, you want spooky elements but not any blood-sucking vampires, flesh-eating zombies, mask-wearing maniacs, or mists full of extravagant critters. Writers Keeling and Natalie Jones gave us a movie to remember, collecting a decent amount of accolades from critics. If they collaborate again, it should work. So far, so good.
Although this movie isn’t in the “found footage” genre, it somehow conveys a sense that you’ve stumbled across a hidden tape recording from Jennifer that explains all of her doubts about her existence. Even as the possibility of an invisible “spook” looms, you sense that she might be slipping with or without their presence. There’s every sense that a character can be gravely harmed, including any part of her family, and you’ll isntantly understand why her estranged mother is so disliked by her. Jennifer wants a silver lining and for hope to be renewed, but can it be? The idea that a semi-private conversation coukld’ve triggered her problem is interesting, too. That it might have become an obsession paints Jennifer as someone with a troubled inner voice. This movie is a stomach-churning package (in the good sense), and is compellingly claustrophobic.
What are your thoughts on The House on Pine Street? Let us know in the comments!
Movies n TV
Consecration, a Film Review
Consecration is a 2023 horror mystery movie directed by Christopher Smith, who also co-wrote the script with Laurie Cook.
Consecration is a 2023 horror mystery movie directed by Christopher Smith, who also co-wrote the script with Laurie Cook. This R-Rated film includes Jena Malone, Danny Huston, and Janet Suzman as its starring cast. The film is currently available on AMC+ and Shudder.
After her brother dies, Grace (Jena Malone) goes to Scotland to investigate the circumstances. At every step of the way, Mount Saviour Convent seems to interfere with her investigation. Father Romero (Danny Huston) seems eager to help her, even if Mother Superior (Janet Suzman) resists her, but a strange fear seems to direct their actions. Worse yet, Grace endures visions of the past, present, and future.
What I Liked
A surprise performance steals the movie for me, that being Eilidh Fisher’s Meg. This nun-in-training remains consistently inconsistent, forever making me unsure of what to expect. With uncertainty and mystery at the heart of the film, Meg expresses that instability by keeping Grace and the viewer on edge.
Mother Superior and Father Romero have perfect friction with each other. Both manage the supernatural situation in their own way, acting as enemies and supporters toward Grace as needed. This friction also adds to the uncertainty that surrounds Grace’s investigation.
The mystery itself surprises me, though there is barely enough to add the context one needs for this mystery. However, it still earns credit for creativity and deception. Most twists and reveals become apparent and often underwhelm me, but Consecration deserves credit for catching me off guard.
Consecration showcases some alluring visuals, CGI not included. The setting and designs really add to the movies. At times, these visuals purposely contrast their environment as the narrative requires. Usually, it complements the central vision. The film gives off a pleasant aesthetic throughout its runtime–barring the CGI.
As a horror, Consecration has haunting moments. The mystery remains the central selling point. However, it leaves the viewer in constant uncertainty that helps the horror thrive.
Tired Tropes and Trigger Warnings
Self-harm and suicide reoccur throughout the film, across several scenes and characters. Aside from ensuring the audience remains uncertain of events, there are no larger discussions or much focus on the issue.
Child abuse defines the backstory of certain characters. Unlike the point mentioned above, this earns more of a narrative focus. However, it’s still not exactly the point of the mystery. Don’t expect the film to explore this with sensitivity or depth. If these seem like dealbreakers, Consecration might be a skip.
What I Dislike
I briefly touched on a CGI problem, which hinders the otherwise interesting and alluring practical visuals. There are no ways to understate how distractingly bad one scene’s CGI is and how it upsets that quality. This scene, no spoilers, happens to be the most open use of CGI. There are other CGI moments, but none distract or hinder like that first scene.
The monster reveal underwhelms in a specific way. The twist perfectly aligns and sets up the foundation for this reveal to make the monster work. However, several reshoots add context to prior scenes to show this “demon” in action, and it somewhat upsets the effectiveness of those scenes.
Thoren Ferguson’s DCI Harris shows up sporadically throughout the film. He acts as the force of law, often hostile but completely underutilized. I suspect DCI Harris had a larger role, but somehow this plot was reduced. I assume this because he plays an important scene at the end that doesn’t seem earned. This isn’t to undermine Ferguson’s performance, as he does everything he can with what he’s given.
Consecration hooked me in and kept me engaged throughout its runtime. While the horror is middling, it has merit. The mystery remains the strength of the film, though it’s somewhat underdeveloped. If your mystery films tend to keep you in suspense through shifty characters and secret religious orders are your thing, Consecration might evoke your interest.
(3 / 5)
Movies n TV
You Reap What You Woe
Episode five of Tim Burton’s Wednesday was very busy. A lot is going on here, and most of it is quite fun. So let’s not waste any time getting into it.
First, we must discuss the fate of poor Eugene. If you’ll recall, the last episode ended with Wednesday finding him in the woods, covered in blood.
Despite Principal Weem’s insistence that he’s resting up and healing, he’s actually in a coma in the local ICU. But maybe she has reason to gloss over that unfortunate fact. It’s parents’ weekend, after all. Probably not the best time to admit that a student was grievously injured.
While there are certainly some Nevermore students who are happy to see their parents, none of our main characters are among them. We know that Wednesday isn’t thrilled to see her family, as she’s still resentful that they left her there.
Still, she’s not exactly pleased when Gomez is arrested for the murder of a man named Garrett. This devastates the family and forces Morticia to reveal a secret she’s been keeping from Wednesday.
Morticia also finally gets a chance to talk about Wednesday’s visions with her. She tells her that Goody Addams, who’s made psychic contact with Wednesday several times, is there to teach her about her visions. But Goody Addams is also super vengeful, and not to be trusted. I wonder why.
While much of the episode is about freeing Gomez from jail, the subplots are no less interesting.
Let’s start with Enid. As we know from the first episode, she has yet to grow into her full werewolf potential. If she can’t do this, she’ll be shunned by her kind and likely abandoned by her family pack. Her mother wants to help her, by sending her to a summer camp meant to help werewolves wolf out. Enid refers to these as conversion therapy camps. Which is clearly a problem.
The story that shook me was Bianca. She’s outright afraid when her mother shows up. And the reason is soon made clear.
Her mother is part of a cult called the Morning Song. Bianca’s mother is married to the leader. She’s been using her siren song to trap people in the cult. But her powers are fading. She wants Bianca to come take her place. If she doesn’t, she’ll reveal a terrible secret of how Bianca got into Nevermore Academy in the first place.
I honestly don’t have a lot of bad things to say about this episode. Except that wolf out is a ridiculous term and I cannot take anyone who uses it seriously at all. The characters were fun, the storyline was interesting, and it was satisfying to start getting answers. It helped that this episode included some real-world bad guys, like conversion therapy and cults. If every other episode of this season had been as good as this one, the show would be top marks from me all around.
This episode was a dramatic example of exactly how parents can fail at their job of raising their kids. And, thankfully, how they can succeed. We see Enid’s mom refusing to let her grow at her own pace. We see Sheriff Galpin ignore a clear cry for help from his son Tyler. We see Bianca’s mother, involved in a cult, using her child for her siren powers. And of course, we don’t see Xavier’s parents at all.
But we also see Morticia being a good mom to a difficult kid who’s rebelling against her. We see Enid’s father supporting her, exactly as she is. We see Eugene’s moms by his side at the hospital. At the bedside of their son, they are still able to give comfort to Wednesday. That is some strength right there.
Overall, this was a fun episode. We got some answers and were introduced to even more questions. I had fun watching it, and I’m looking forward to the next episode.
(4 / 5)
Movies n TV
Solace, a Film Review
Solace (2015) is a mystery thriller directed by Afonso Poyart. This R-rated film stars Anthony Hopkins, Jeffrey Morgan and Abbie Cornish.
Solace (2015) is a mystery thriller directed by Afonso Poyart. This R-rated film includes Anthony Hopkins, Jeffrey Dean Morgan, Abbie Cornish, and Colin Farrell. As of this review, it is currently available to Netflix and Hulu subscribers.
As a string of murders leave FBI agents Joe Merriwether (Jeffrey Dean Morgan) and Katherine Cowles (Abbie Cornish) perplexed, Joe turns to an old FBI contact and friend, Dr. John Clancy. Dr. Clancy possesses psychic abilities that make him an essential asset, but tragedies in his personal life leave him distant and broken. Fearing a person with similar gifts as himself, Dr. Clancy cannot help but lend his assistance.
What I Like
This cast is great, with notable legends living up to their reputation. While by no means career-highlighting performances, they work well together and provide a weight that pushes past lackluster character roles.
As the main character, Anthony Hopkins’s Dr. Clancy stands out above the rest. Given the most screen time and plot relevance, this opinion comes easily. His role has the most opportunity to make us care for his character.
Solace creates fun and engaging scenes that tie directly to the characters’ psychic abilities, adding tension in unique ways. While other movies with psychics utilize similar strategies to convey this power–the movie Next comes to mind–the scenes add variety to otherwise lackluster cinematography. This decision also adds a somewhat strategic nature to the psychic battles.
Originally intended to be a sequel to Seven, this idea, thankfully, does not follow through to the final product. The story behind that is the typical Hollywood shuffle and brand recognition. I can’t exactly figure out a place to put this interesting fact, but the choice remains a benefit to the film.
Tired Tropes and Trigger Warnings
Slight spoilers ahead! Read this section with that in mind.
A closeted man contracts AIDS and infects his wife. As this goes into rather old homophobia and fears, I felt it needed mentioning. Considering the film’s release date, 2016 (US), the plot point feels uninspired.
Some gratuitous sex scenes tie into the above reveal. The dramatic reveal and voyeuristic nudity (of the wife) make for an odd viewing experience. When the reveal isn’t shocking, it doesn’t exactly add much weight to the elongated scenes.
What I Dislike
There are no tactful ways to go about the low effort of the film. It’s surreal to see the names attached, the concepts addressed, and how it all fumbles. I imagine this discrepancy has something to do with the original sequel idea, but that remains speculation. Ultimately, the film feels awkwardly low budget for the cast it possesses.
Adding to this weakness are the underdeveloped characters and rushed plotlines. The film feels unfocused in direction, revealing things as they become relevant with fluctuating degrees of foreshadowing. Some of these revelations work, with some speculation, but adding them all together makes Solace weaker as a film.
This film isn’t scary, despite the premise being extremely promising. The idea of a potentially psychic killer does evoke a lot of possibilities, added with the exceptional cast, and it seems destined for success. Yet, the horror is middling at best.
Solace wants to be more and achieves some success in certain areas, but its inability to build and support these ideas hinders the overall quality. Perhaps Solace desires to upstage the twists of the typical mystery thriller that makes the film grasp too many new and interesting ideas. Regardless of the reason, the film suffers, and the viewing experience becomes underwhelming.
For a thriller killer, Solace doesn’t hold much water to competition. While the cast performs their roles perfectly and works well with each other, the notable weaknesses in writing and lackluster visuals don’t do the acting justice. A surprisingly exciting cast becomes a disappointing letdown. (2 / 5)