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Review: ‘The Deep House’ An Aquatic Ghost Experience

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The Deep House is a 2021 French supernatural horror film written and directed by Julien Maury and Alexandre Bustillo. One night, I saw the aquatic cover deep within Hulu’s horror section and decided to give it a shot. The water always freaked me out because you don’t know what lies beneath. My brain always jumps to Lovecraftian monsters, so when I saw a haunted-looking house on the cover beneath two descending divers, I knew I had to take this plunge.

A Unique Premise: Influencers Dive into a Submerged Haunted House

To my pleasant surprise, conceptually, it was really cool. The plot centers around a social media influencer called Ben (James Jagger) and his girlfriend Tina (Camille Rowe) in their travels seeking fresh content to serve up to their loyal audience. The couple is traveling from New York to France specifically looking for a submerged asylum which upon their discovery turns out to be the site of a populated recreational area and thus is not very cool for the influencers. They cross paths with a grizzly-looking local man named Pierre (Eric Savin), who informs them of a completely intact, submerged house far away from those pesky, uncool families. Our beloved couple, hungry for views, cannot resist the allure of such a perfectly magnificent adventure, despite the many obvious red flags.

The Deep House has elements of a found-footage style film, except here the audience is given many extra angles thanks to an underwater drone that follows the main characters around on their damp adventures. Found footage films, to me, give off a very claustrophobic vibe, which holds true for the duration of this movie. This complements the idea that they’re underwater in cramped scuba suits with only a given amount of oxygen, all before actually encountering the ghouls. They build this atmosphere well throughout its entirety.

Atmospheric Thrills and Chilling Isolation

So as the movie progresses, it’s a scary and atmospheric romp around this house and everything is going well, and it’s pretty frightening. The ambiance is there, the feeling of isolation is there, the feeling of impending suffocation is there; they’re ticking most of my fright boxes. And then, just as my enjoyment of this movie begins to solidify, we’re presented with the ghouls. Without going into specifics, they floated around the screen like a chunk of lava in a lava lamp or like a candy bar in a swimming pool waiting to be fished out with one of those blue nets on a stick. They did not scare me in the slightest, which is my only real gripe with this movie.

So, the last third of the movie involves a lot of ghoul cat and mouse games, which were hard for me to swallow because I couldn’t get over how nonthreatening they were. I shouldn’t feel like I’d easily be able to overcome some supernatural-type entity. That idea distracted me for the remaining portion of the film, and honestly the interesting concepts driving the plot forward became lame to me, because these ghouls seemed like such weaklings. However, the film’s ending redeemed itself for its transgressions against universally accepted horror movie ghoul guidelines and standards.

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Fresh Take on Supernatural Horror with Social Commentary

The Deep House does do a lot right though, and it is an entertaining movie. The underwater sets and acting brought a fresh feel to the supernatural horror genre. The social commentary they deliver regarding content creators is always a relatable topic. They did a good job showing how eager content creators can become so fixated on their work that they fail to realize what may be going on around them, leading to otherwise avoidable trouble.

Ultimately, after all is said and done, and the credits begin to roll, I’m left with an inclination not to dive into a foreign lake containing a perfectly intact submerged old house. However, if I were to do the opposite and indeed dive into said ghost house lake, I would probably not fret and gently push the ghouls aside with ease and continue on with my scuba business.

You can watch The Deep House on Paramount+

Hey, I'm Fred and I'm just a regular guy who likes his metal as he likes his movies; death-related. I enjoy writing, creating music, and hanging out with my dog Ed.

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‘Venom’ (1981) Review: The Snake Film That Still Bites

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I have many faults. Perhaps my biggest fault when it comes to film is my penchant for childhood/pre-teen nostalgia. Something about films like House of Wax (2005) or The Texas Chainsaw Massacre (2003) speaks to me more than their predecessors. That’s not to say I refuse to consume film from pre-1994; I would just rather watch something that makes me feel like things were all right in life. There’s a simplicity to films like that that makes me feel safe. One of the greatest feelings, when it comes to film, is finding something you typically wouldn’t have watched that’s a really, really good film. That film today is Venom (1981).

A Hostage Plot With Deadly Consequences

Philip Hopkins (Lance Holcomb) is a strange kid who seems to prefer critters, both tiny and slimy, over kids his own age. And his debilitating asthma doesn’t help much. His mother, Ruth (Cornelia Sharpe), has to leave town for a few days. She leaves Philip in the care of their housemaid, Louise (Susan George), and his grandfather, Howard (Sterling Hayden). But things go off the rails when the family driver, Dave (Oliver Reed), reveals he and Louise have some deadly tricks up their sleeves. Unfortunately for them, a mix-up at a local animal store leads to an even deadlier trick up Philip’s sleeve.

Based on Alan Scholefield’s novel of the same name, Venom is an incredibly taut piece of horror that slithers into your core. For the most part, the film takes place within the Hopkins home, and that is where it succeeds most. What should have stayed as a tense chamber piece occasionally devolves into a weird cat-and-mouse game that pits the infamous Klaus Kinski against a brash Nicol Williamson. While the film mainly keeps the audience holed up with the family and hostage-takers, it does itself a disservice by distancing itself from the intense claustrophobia of what’s inside.

Venom Provides A Unique Take on Snake Horror Inside the Home

Snake horror has typically kept audiences in a jungle or woodland setting, so finding ourselves trapped inside with a Black Mamba is different and unique. But the constant cutting back and forth between the antagonists and the hapless police commander cuts much of the edge out of the film, which is a shame. Venom is penned by Robert Carrington, whose Wait Until Dark opened my eyes to how different types of horror can be effective. Carrington weaponized blindness and trust in a way that frightened me to my core. Knowing that he was the scriptwriter made me feel like I was in for a chamber piece of slimy terror. While Venom still managed to chill me, I’m left wondering what could have been had the film stuck to a singular location.

I was also left wondering what could have been if the film’s original director, Tobe Hooper, had never left the project due to creative differences. Though some state that producers were not happy with Hooper’s direction. Ousting Hooper was the best choice anyone involved in this film made. While there’s no doubt that The Texas Chain Saw Massacre is a bona fide classic, Hooper’s style just feels completely off from the tone of what this film is.

Standout Performances Drive the Tension in Venom

The true magic of Venom comes not from the snake, but from two of the co-leads. Klaus Kinski and Oliver Reed grab this film’s pacing by the throat and keep it in a chokehold. Kinski plays Jacmel as a snake. He slithers his way around in a calculating way, ready to attack with his venomous “bite” at the drop of a hat. In comparison, Reed plays Dave, almost, as a Kuklinski-like villain. Reed takes no prisoners and wants to leave no one alive. The way these two clash, even though they’re after the same thing, provides one of the most fascinating performances in horror history. (Yes, I know Klaus Kinski is a genuinely bad person.)

From the fascinating snake POV to the film’s incredible performances, Venom left me holding my breath for nearly its entire runtime. While I had some issues with the film’s setting (specifically, how it didn’t remain a chamber piece), the overall effect left me unsettled and generally nervous. If you haven’t seen Venom, you need to change that immediately. With this being the only film that I’ve seen Klaus Kinski in, I can unarguably say that it’s his best performance.
Venom is currently streaming on Shudder.
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‘Housewife’ Review: Crypt TV’s Liminal Horror Short Terrifies

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One of the first YouTube channels I both subscribed to and ‘clicked the bell’ for was Crypt TV. Alongside Omeleto (which came shortly after), Crypt TV regularly and proudly pushed incredible, independent, short-form genre content into my feed. And I would always eat it up. For those curious, Crypt TV is still platforming wonderful horror for those cool cats out there who love horror. The latest short film to find a home on their channel is a nifty, slightly absurdist, slightly liminal, (and shot on 35mm!) all-around haunting piece of horror called Housewife. Spoiler alert, it’s worth your time.

A Bloody Accident Sparks the Horror in Housewife

Housewife follows Julia (Shannon Collis), who accidentally cuts her finger while tidying up and bleeds on a long-forgotten dollhouse. Life gets flipped upside down when Julia’s blood becomes one with the dollhouse.

I have covered tons of short films as singular pieces and in blocks. Short films, I’ve always said, are the cornerstone of horror. In a quantitative sense, more creativity has cumulatively shone in short films than in features (that I have seen). Housewife continues that streak. Its premise is simple, but not in a way that feels underwritten. Writer/directors Greta Guthrie and Jake Lazarow’s short film, based on Miranda Parkin’s original character, is as impactful as it is frightening.

A Refreshing and Terrifyingly Original Creature Concept

Post-Bakemono, I was worried that I may have seen it all. At the end of the day, how many original ideas can be left? Parkin’s character is beyond unique; it’s a nightmare I never thought I would have. The idea of a doll house coming to life doesn’t sound scary one bit. Parkin, Guthrie, and Lazarow proved me wrong. Assuming that Housewife is a proof of concept, which, if it’s not, it damn well should be, they have set themselves up for nothing but success.

When it comes to shorts going feature, budgeting must come into play. Many short films create worlds and characters that are too big for the producer types who use short films as potential investments. Housewife’s creature is wildly creative, scary, and great for a low-budget/indie feature. Parkin’s creature checks, as stated earlier, an absurdist and liminal box at the same time, while being easily scalable to a feature-length capacity.

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A New Nightmare You Can Watch Now on Crypt TV

Housewife is intriguing, frightening, unique, and all around fun. There’s something special about being introduced to a new fear. And Parkin’s creature has now dug its way deep into my subconscious. The unfortunate thing about short films, usually, is that I can talk about them…but they’re not available to watch. Have no fear, Crypt TV is here! Housewife can be seen over on the Crypt TV YouTube channel so that you, too, can find a new nightmare.

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