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The House is a 2017 American comedy film directed by Andrew J. Cohen, and co-written by Cohen and Brendan O'Brien. On the day of the viewing, the guests are unimpressed by the house, but a strangely proportioned couple remains, expressing a strong interest in buying the house. Over the next few days, the odd couple remain firmly settled in the house, the bugs return in force, and the bank keeps demanding repayment of the developer's business loan. The developer decides to stop indulging the couple, only for many members of their family to show up wanting to enter the house. He tries to call the police, who instead caution him for his constant, overly familiar phone calls to his dentist, who the film had led the audience to believe was his romantic partner. The dentist is also ready to take the developer to court if he telephones him again.
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Airbnb is offering customers an opportunity to stay in famous homes and places such as a re-creation of the "Up" house from Pixar's 2009 animated movie. 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. Pictures, received negative reviews from critics[3] and flopped at the box office, grossing $34 million worldwide against its $40 million budget. 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. Emerging from the vision, she sees Jen and Cosmos sailing away, calling for her to join them; but the boat is too far away. Remembering a large lever Cosmos had built, she pushes it, transforming the house into a seaworthy vessel.
animation
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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The audience for that message may be a little limited, much like the audience for a collection of stories this dark and (in two cases) cynical. But the craft of The House itself should be enough of a lure to draw people in. Viewers may be put off by that nauseating parasite musical routine, with its singing, dancing creepy-crawlies and their grotesque enthusiasm. But it’s hard not to appreciate the sheer amount of work that went into crafting this threefold fever dream, and the directors’ effectiveness at creating such instantly believable fantasy worlds. They set out to make these stories vividly oppressive and claustrophobic, and they certainly succeeded.
Cast
Encouraged by Jen, Cosmos, and a returning Elias, Rosa takes control of the house ship, escaping as the floods destroy the surrounding foundations, and the four sail out into the ocean. 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. 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. In the action-packed fight film, Patel plays Kid, a young man who avenges his mother’s death at the hands of corrupt law enforcement. Shohei Ohtani and James Wan are also among the sports and entertainment figures named to the annual index of the most influential Asian Pacifics across culture. Renowned genre filmmaker Mike Flanagan (The Life of Chuck) is in talks to direct the next Exorcist film for Blumhouse and Universal Pictures, sources have confirmed to Deadline.
What’s most interesting about The House is how each story offers a different riff on this theme. 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. Jump to the last chapter, by Paloma Baeza, and the world has gotten even more chaotic but quieter.
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The "Up" house is part of Airbnb's new "Icons" series, launched May 1, with 11 special locations. The House squanders a decent premise and a talented cast on thin characterizations and a shortage of comic momentum. By Andrew Webster, an entertainment editor covering streaming, virtual worlds, and every single Pokémon video game. “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 only catch, that they are aware of at least, is that they must give up their current home. Raymond jumps the opportunity as a means of status, to have the nicest house in the area, and make others jealous. “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. 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.
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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.
Back at the Johansens' casino, Frank discovers that one of the gamblers, Carl, is counting cards. The Johansens and Frank confront him, but he brags that he works for mob boss Tommy Papouli. Scott accidentally chops off Carl's middle finger, earning him the nickname "The Butcher", making the community afraid of him, which inadvertently increases their profits. During their visit to Bucknell University, husband and wife Scott and Kate Johansen warn their daughter of the dangers of being in college.
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. The story is set in a world populated by anthropomorphic rats, and the house is now settled in a developed city street and about to go up for sale. The developer renovating the house recently laid off his entire construction crew to reduce costs and must do all the work himself.
It’s also another striking feat of stop-motion animation, with lifelike sets and clothes that practically breathe as the furry characters move. In the third story, directed by Paloma Baeza and set in the near future, the house is the only thing still dry in a completely flooded city. It’s now an apartment complex, and the landlord, a cat named Rosa (Susan Wokoma) — she’s literally a cat, as is everyone else in this story — is determined to renovate the mansion. But she can’t get rent from her two remaining tenants; a young man named Elias (Will Sharpe) pays her in fish and a hippie lady named Jen (Helena Bonham Carter) pays her in crystals.
The family is quickly seduced by the extravagant amenities—the food that appears on massive dining room table, the electricity that provides full illumination. But young daughter Mabel (Mia Goth) has more trepidation, as she starts to witness the stranger aspects of its construction, like the zombified workers, who toil in the darkness, and suddenly take away the staircase at night. Things get even stranger, and more visually striking, when the parents are gifted clothes that look a lot like pieces to an ornate couch. It’s an effectively spooky short, one that gets a great deal of intrigue out what is unfolding in the shadows, prefacing the house as a nonsensical trap. The third story had the most hope, even though it describes a very plausible environmental disaster. It’s not a coincidence that it has the most complete story and the best performances.
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