This satirical murder mystery pits a woman who is the epitome of glamour (played by Haruko Wanibuchi) against a clever murderer during a holiday stay at a strange ghostly mansion. Seven young women, who have chosen as nicknames the brand names of much-advertised consumer products, begin to disappear in a decidedly suspicious manner. Are they fashion victims? How else can one explain the eerie coordination between their pastel outfits and the pastels of the rooms in which they appear? It is up to
the heroine -- whose every screen appearance is heralded by special lighting, gentle breezes, and a soft camera focus -- to find out what is going on. ~ Clarke Fountain, Rovi
While there's a dweeby midnight-movie inventiveness about the look of all this, there's also an awful lot to forgive artistically (or to drunkenly roll with, as the case may be).
House suggests that the nitrous-oxide hyperdrive of Japanese pop culture-as vivid now as ever in entertainments like Takashi Miike's Yatterman, for instance-is a brilliantly imagined, if not in fact transcendental brand of therapy
Pushed the boundaries of the depiction of terror on screen and reveals the interest in the language of experimental filmmaking in genre and mainstream cinema of the time.
Really the Damndest Thing: a gleefully chaotic DayGlo haunted house movie (Sam Raimi has to have seen this) that suggests the Sid and Marty Krofft universe gone mental. Ok, mental-er.
That House was made at all is a minor miracle. That it has returned, to critical acclaim and a new generation of fans, is a major miracle. Truly, this is some kind of wonderful.
too smart and funny, too self-aware and post-modern, to be truly scary - but its trippy energy and surreal unpredictability make it a film that takes up long-term residence in your consciousness anyway.
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