House at the End of the Street arrives with a title that screams familiarity, and unfortunately, the movie itself doesn’t stray far from well-trodden horror-thriller paths. While it aims for scares and suspense, this film directed by Mark Tonderai mostly delivers predictability, occasionally punctuated by unintentional humor. It struggles to establish itself as a genuinely compelling entry in either the horror or thriller genre, ultimately losing its way in a maze of clichés.
From the outset, there’s a glimmer of hope that House at the End of the Street might be a self-aware genre piece, perhaps echoing the post-Scream era where films playfully acknowledge and subvert horror conventions. However, despite a few moments that elicit chuckles precisely because of their predictability, the movie largely plays it straight, making it difficult for the audience to fully invest in the supposed tension.
The premise, designed for a PG-13 rating, is straightforward. A divorced mother, Sarah (Elisabeth Shue), and her teenage daughter Elissa (Jennifer Lawrence) relocate from the city to a seemingly idyllic, wooded town – possibly in Pennsylvania, though the location remains vaguely generic. The low price of their new home is quickly explained: it’s next door to the infamous site of a gruesome double murder, where a young girl killed her parents four years prior. Despite the title suggesting supernatural elements, House at the End of the Street isn’t haunted by ghosts or demons. Instead, the unsettling presence comes in the form of Ryan (Max Thieriot), the surviving son from the neighboring tragedy.
Elissa, portrayed as the quintessential edgy teenager with a penchant for guitar music, finds herself drawn to the enigmatic Ryan. Ignoring her mother’s understandable reservations, she begins spending time with him, venturing into the kind of ill-advised friendships that fuel countless thrillers. Unsurprisingly, this decision leads down a dark path. Whispers of Ryan harboring his supposedly deceased sister in the basement surface, and Elissa embarks on a journey to uncover the truth, slowly realizing that her charming new acquaintance might not be so charming after all.
Yet, amidst the predictable plot points and familiar horror tropes, House at the End of the Street boasts a significant draw: Jennifer Lawrence. Her performance adds a layer of credibility to the otherwise formulaic narrative. To delve further into the plot would venture into spoiler territory, but suffice it to say that events escalate, leading to a twist that bears a resemblance to the climax of a certain classic film.
To be fair, House at the End of the Street isn’t entirely devoid of entertainment. It manages to deliver a handful of jump scares and a few unexpected turns. However, these fleeting moments of genuine suspense are overshadowed by elements like the stereotypical Bumbling Cop character (Gil Bellows) and scenarios that prompt viewers to question the characters’ decision-making – such as the inevitable descent into the “creepy basement of Murder House.” Adding to the sense of anachronism, Elissa inexplicably uses what appears to be a MySpace page, alongside an iPhone 3G and an iPad, creating a jarring temporal mishmash. In conclusion, House at the End of the Street relies too heavily on genre clichés to deliver a truly horrific or thrilling experience.
