All fans of the horror film have a corner in your hearts for at least a couple of movies with passages of terror aboard: the founding and extraordinary ‘The house of horrors’ of Tobe Hopper perhaps the film’s most-loved together with ‘Texas chainsaw massacre’; and their wild-tribute to the hands of Rob Zombie, the also excellent ‘The house of the 1000 corpses’.
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Both left very clear by the prominence of his gloomy scenario from their titles, and it is not for less: a passage of terror, or a train of the witch are sets sufficiently familiar to all the world, and at the same time, exude a mystery hidden and indecipherable.
On what we can all agree on is how all of these films exaggerate the scale and the capacity to terrorize the majority of these sites: to the two above-mentioned can be added other movies with amusement parks, such as ‘Ghoulies II’ or ‘the Doll of the devil III’, where the passages of the terror are ridiculously luxurious, size exageradísimo and means little credible for a fair ambulante we landed in a town of bad death. And we all know that what you fear the most gives of the train of the witch is that the guy that you feed with the mocho gives even more scary without the mask.
The originality and the strength of this ‘Haunt’ that, to continue with the tradition, has a degree in Spanish very descriptive of the environment, is that I would dare to say that for the first time in the history of the genre -but surely it is beyond me some semi-unknown of any Z-series shot in a passage of terror, genuine-, the scenario is perfectly credible.
The cutrerío of the materials with which is built the house, the scenery direct and insane, the resources of scare cheap, the props of all to one hundred… it’s all here, and multiply the impact.
multiplies because it makes this nightmare is much more recognizable, the style of many horror movies (especially in the seventies, the very low budget, of the above-mentioned ‘Texas’ Hopper to ‘The last house on the left’ of Craven) in that what is sordid and cheap inject an atmosphere almost documentary to the greatest atrocities.
‘Haunt’ lacks the brutality and deep referents setenteros to those provided for distance (and for sure Eli Roth production, these references have been taken into account), but something remains of its atmosphere unbreathable and desperate.
‘house of terror’: a good train of the witch
Haunt tells the story of Harper (Katie Stevens), you just break up with her sinister boyfriend, and decides to go out on Halloween with his friends. For fun, go to a mysterious house of terror where there are hardly any instructions: but soon, the typical maze of mirrors, trapdoors, skeletons of rubber and the corridors claustrophobic are turning into something far more sinister.
And it is precisely lto ease crippling (but recognizable) is converted into something aggressive and dangerous which gives you all the strength to the movie. At the beginning, the writers and directors Scott Beck and Bryan Woods (coguionistas also of the far less hysterical ‘A quiet place’) tontean with the springs of the whodunit, but it doesn’t take time to cast in iron the codes of the slasher classic.
‘Haunt’ is not especially gory, sinister or original, but here and there distilled a few drops of venom, which without doubt will give a special atmosphere. The viewer seems to catch the disorientation that these dark places and labyrinthine print on those who visit, and very adept that is in the genre, certain turns as the aid that comes from inside of the house is absolutely terrifying thanks to a clever management of expectations.
‘The house of terror’ is not revolutionary, but you know away with some intelligence for something more soft and generic codes of Blumhouse thanks to a certain spirit and aesthetic of indie, a bad baba important, and a go to the point of relentless from the opening bars. A work atmosphere interesting and a movie that arrives late to Halloween, but not to lists of the most sympathetic and morbid of the year within the genre.
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The news ‘house of terror’: a tribute to the film genre of the 70s that benefits from its limitations was originally published in Espinof by John Tones .