'The Night House' can be filed under 'beautiful people haunted in chic, 'Architectural Digest' houses,' says Guy Lodge — but this Rebecca Hall horror movie has a lot on its mind. Our Critic's Pick Review.
That house, though. Perfectly appointed for the film’s purposes by production designer Kathrin Eder, it’stour material. But that’s not the reason why Beth, her impulses otherwise torn this way and that by grief and confusion, can’t leave its beautiful, deathly pall. Not the only one, anyway.
Thus do screenwriters Ben Collins and Luke Piotrowski lay the foundations for a conventionally well-built haunted-house chiller. But Bruckner and Hall herself occasionally deviate from the plan, forming something a little more strange and sculptural. Beth’s investigation of her home’s paranormal activity follows certain expected beats: occult clues are uncovered, Owen’s previously invisible demons are hauled out, parallel spaces and double lives are glimmeringly teased.
It’s Beth who’s the more compelling mystery, as the film attempts to psychologically map her tangled emotions of sorrow, guilt, anger and odd exhilaration onto her increasingly fractured sense of reality. Maybe she’s more haunted by Owen than the house; maybe she prefers it that way, because it beats being alone. Hall is the actor you want for this assignment.
But even as the naturally stoic, skeptical Beth spirals, she never seems unhinged. We adhere loyally to her point of view, even as her reality seems to slide from its center. It helps that she also has that rarest of assets in the horror genre: a best friend, sharply played by Sarah Goldberg, who actually seems like a real, empathic person with a life outside of her scenes — another credible graph point for Beth’s escalating disarray.
For a tantalizing stretch, it seems the movie may have even more modernist designs on its mind, as it nods away from horror altogether toward the more zen, unresolved hauntings of something like Olivier Assayas’ exquisitefeel him, through the mystic fog, her own skin eerily shifting and quivering in the attempt — not ghost-hunting but ghost-bonding.
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