Excerpt: A loose remake of a 2010 film from Uruguay entitled La Casa Muda, 2012’s Silent House pulls as much influence from Hitchcock’s Rope as it does from recent South American horror films like [REC] or those that have followed in its wake in that it’s put together in such a way as to convince the audience that it was all shot in one take. It’s an interesting visual gimmick to be sure, but does it make for a better movie?
Excerpt: The Film Olsen Twins' adventures aside, little sister Elizabeth made her big movie debut in the indie thriller Martha Marcy May Marlene . It was a huge splash with audiences and critics. Now, she is dealing with a different kind of creepy in Silent House . Sarah (Olsen) is staying at the family's lake house, which her father John (Adam Trese) and her Uncle Peter (Eric Sheffer Stevens) are planning to fix up and flip.
Conclusion: I originally thought that 'Silent House' was a purely gimmick-driven horror movie that uses it's single-take status as a crutch. While I was correct about the film not reaching great heights, it was never because of the seemingly single-take; the demise of this film is the resolution to its slow-building rising action.
Conclusion: Silent House doesn't serve up compelling characters or an engrossing scary story, deliver a competent twist or a satisfying ending, or elicit the unease, instability or sheer terror Olsen brings to her performance. If it weren't for the gimmicky genre pic's young star or single long take trickery, it wouldn't even be worth renting.
Excerpt: Death and the dark are two of the most common fears simply because they are fear of the same thing: the unknown. That’s why it’s so hard do develop a satisfying ending to a horror film – once the terror is explained, it is no longer terrifying. Silent House , the new movie from directors Chris Lentis and Laura Lau, is 65 minutes of pure fright that’s washed away by the final 20 minutes.
Excerpt: Something's just a little off in the opening scenes of Chris Ketnis and Laura Lau's Silent House --not in the execution, but in the events they're capturing. A young woman named Sarah (Elizabeth Olsen) is at her family's lake house. They don't use it much, and it has been taken over by squatters, who've smashed out the windows, and rats, who've eaten through the electric lines. Thus, though it's light outside, it's totally dark within.
Excerpt: There’s almost certainly no horror-movie situation hoarier than a woman trapped alone in an old, dark house, but there’s a reason it remains deathless: It works. Do it right, and the audience is right there with the heroine, feeling just as scared as she is of whatever dread presence waits just offscreen. Do it wrong, and audiences will want to—or maybe will—shout out all the dumb mistakes she’s making, breaking whatever tension the filmmakers have worked to create.