Netflix has always enormously ranged in quality when it comes to their original films and the horror genre, as despite films such as: ‘The Ritual’ and ‘Gerald’s Game’ displaying some great promise for the streaming service, many horror duds like ‘Cam’, ‘Eli’, ‘The Silence’ and ‘Rattlesnake’ just to name a few, leave ‘The Open House’ feeling like just another bland and (sometimes even brainless) entry into this ongoing trend.
Following a recent family tragedy, an athletic teenager and his mother find themselves besieged by a threatening force when they temporarily move into a new house currently-up for sale.
By far the worst element of: ‘The Open House’ is its writing, as in addition to the film’s extremely dim-witted characters and bizarre misdirections. ‘The Open House’ almost feels as if it has a disconnect from reality at points, as the main antagonist of the film, ‘The Man in Black’, lurks within the mother and son’s home unbeknown to them, usually hiding in their basement. Yet somehow, also manages to navigate through the house without ever being seen, even going-up and down the single staircase to the basement constantly. The closest ‘The Man in Black’ ever comes to being found is through the noises he makes at night, and although these moments do give ‘The Man in Black’ the perfect opportunity to depose of his victims, he never does for reasons that go unexplained.
Dylan Minnette and Piercey Dalton portray the main duo of the film: ‘Logan’ and ‘Naomi Wallace’, a mother and son broken apart by the recent death of their father/husband, and although neither of the two actors give a truly bad performance throughout the film, none of the characters ever really feel that likeable or interesting, this even continues-on to the supporting cast of Sharif Atkins, Patricia Bethune, Paul Rae and Aaron Abrams. Who all attempt to give each one of the small-town residents a distinct and out-of-touch personality, which usually fall quite flat. ‘Logan’ and ‘Naomi’ also suffer from one of the biggest issues for horror characters, that being their nonsensical decisions. As during many points within the story, the characters don’t react to situations how most people realistically would, sometimes even missing very obvious signs of danger.
Surprisingly, the cinematography by Filip Vandewal does allow for a number of attractive shots. Whilst still fairly dull overall, usually not really adding much to any of the film’s tension-filled moments (what little there are) through the film’s heavy overreliance on its static shot-reverse-shot formula during many scenes. ‘The Open House’ does at least attempt to use a variety of wide-shots and focus-pulls to make effective use of its isolated yet beautiful location in the snowy mountains of Ohio, despite the story itself barely utilizing this location aside from a scene nearing the end of the film.
The original score by Joseph Shirley is pretty much exactly what you’d expect, being the usual generic and sometimes even overbearing strings score composed for the majority of horror flicks. From the opening scene to the end of the film’s credits, every track is very forgettable and is barley distinct from each other. So much so that it seems that the soundtrack is barley even findable online, as it actually took me a while to locate the score afterwards.
Another poorly-executed aspect of the film is its many misdirections as already mentioned, as despite hinting at numerous different paranormal events throughout its runtime, ‘The Open House’ is actually a mostly grounded modern-horror. As whilst the film constantly alludes to supernatural occurrences, the film then always undermines itself by completely ignoring them. This also isn’t just limited to the paranormal aspects however, as the film also introduces a variety of loose-ends which the film never ties-up, and whilst some could see this as setting-up a layer of mystery, I personally feel its just lazy writing and bad red-herrings. This is most notable when it comes to the character of: ‘Martha’ portrayed by Patricia Bethune, who repeatedly refers to her dead husband throughout the film and always acts very unusual. Yet nothing ever comes of his, and by the end of the narrative, her character is almost completely forgotten about.
In conclusion, ‘The Open House’ is a truly dismal Netflix Original, with some weak performances, a forgettable original score, atrocious writing and an enormous amount of clichés. Aside from the occasional piece of decent cinematography, ‘The Open House’ simply feels like a ‘nothing’ experience, as for me, these kinds of low-effort and low-budget horrors are only dragging the genre down further than it already has been in recent years. Overall, a definite 2/10.