Silent House (2011)
The American remake of the 2010 Uruguayan movie with an identical name, about a young lady assaulted in her family vacation residence. It’s thought to be based on a real tale from the 1940’s. Laura Lau and Chris Kentis are the directors the movie and Lau is also the writer of the script.
Elizabeth Olsen leads in the movie as Sarah, a young lady who dwells with her father played by Adam Trese and uncle played by Eric Sheffer Stevens at their rest house in the state while they clean and repair it as it is planned to be sold. When her uncle left to leave into town, a hidden assailant harasses Sarah’s father and then hunt Sarah all over their house. Sarah attempted to escape and jog for aid while evading the trespassers. The whole thing is participated out in the actual period.
Starring Elizabeth Olsen, this jitters-suggestions, remarkably suspenseful movie offers a lot of clues and false guides on its mode to reply to questions. Even not all of the apparent red herrings in this terror brush are dodge.
The movie advertising approach has been two-split.
The film begins to fairly slow-paced, but obtains a bit creepy and forceful as it moves on. The actual period is one cause of the movie’s most possessions while also being one of its major fault. It’s appealingly terrifying at most times, but also totally dull. Once the film gets to its huge turn, it fails any true thrills or observer participation it had going for it. An average movie at its best.
The same with the Paranormal Activity franchise, “Silent House” develops a publicity stunt. It’s blast in real period and in one nonstop shot. That only denotes no flashbacks, no tricks of the restriction room and no slashed and sewn up cuts.
It’s no shock really that in a film called Silent House, hum twists out to be dominant. Footprints clatter. The punch of a body part beating a floor calls for a jump, then anxious hilarity in the theater. Even the more rural scream of summertime cicadas makes for an anxious ambient footage. The composer Nathan Larsen is fairly efficient, too.
But still, it’s Olsen’s acting that makes Sarah’s dilemma matter. And she establishes that her charming rotate, about a lady on the lam from a cult, was not an accident.
And still, if you are yet thinking if creepy is simply her finest genre, Olsen is even attractive in adequate, if engaging family dramatization is required.