Ho-wdy,Human Ho-mies! Wel-cum to another #TerrorTrailerTime! We’re really going to bug you this week…
For ya Kreepy Krawlers out there, we harvested some trailers for some of the most insidious insect invasions of the ’50s and ’60s! These freaky features represent some of the very best in monster movie madness! So, roll up a newspaper and be prepared… this day belongs to the insects! Here they are… the horror-horde of crawl-and-crush giants you’ve been hearing about…THE TRAILERS!!!
As a bonus, here’s a special song about our insect conquerors…
I don’t know about you cats, but I think Scooby-Doo: Mystery Incorporated is HIGH-LY underrated!
There are more incarnations of Scooby-Doo then there are stars in the sky, but Mystery Incorporated tried to shake things up, while still staying true to the spirit of Scooby-Doo. Cl-ass-sick characters are fleshed out, the monsters are menacing, and it had a genuinely intriguing mystery element. Plus, it had a surprising dark tone. I mean… Dark!
This was a Scooby-Doo that really knew to give you the willies!
And it had monsters! By Cthulhu, did it have monsters!
Its backgrounds were simply gore-gous! I’d proudly hang any of these in my tomb! Beast of all, the show was clearly made for us fright freaks. Nearly every episode is loaded with references to the best genre media has to offer. From Twin Peaks..
…to an entire episode paying homage to War of the Gargantuas. They even include the song from the movie!
In ho-nor of this underrated cartoon, we’ve provided our absolute favorite episode! It’s one big tribute to the greatness of Vincent Price, with plenty o’ nods to the Merchant of Menace! Happy Splatterday, Kinky Ho-mies! 🙂 xoxo
We’re going WAAAAAAAAAAAAAAAYY back in time here! I’m talkin’ B.K. (Before Karloff) here! Yessir, this one’s before Caligari had a cabinet and before Chaney’s Phantom haunted the opera. From Edison (Yes, THAT Edison) Studios, it’s Frankenstein! Now, this short film has been described as a “liberal” adaptation and, boy, is that true! Instead of stitching corpses together, the bad doctor throws a bunch o’ chemicals into a vat, resulting in his own Pet Monster. It ain’t the Frankenstein we’re used to, but it’s certainly fascinating! With its strange optical effects, it’s like freaky-deaky magic show! It’s Strange! It’s weird! It’s one of the original horror shows! I highly recommend it to a you cool ghouls and groovy ghoulies out there! 🙂
Happy Birthday to Cinema’s Great Magician, Ray Harryhausen!
As you cool ghouls and groovy ghoulies probably know, Ray Harryhausen was the mightiest stop motion animator in the cosmos. He was both Prometheus and Athena, sculpting creatures from clay and breathing life into them. Mr. Harryhausen brought many great monsters into existence with just his skilled hands and superhuman patience. What he did was magic, pure and simple.
In ho-nor of Mr. Harryhausen, we’ve dug up this groovy interview… conducted by Mr. Tim Burton! In it, you’ll hear Ray talk about the birth of several of his creations, watch Tim Burton try not give in to his inner-fanboy, and see the two mess around with a flying saucer from Earth vs. The Flying Saucers! It’s an incredible watch for lovers of fantastic cinema and Master Harryhausen. Enjoy, Kinky Ho-mies! 🙂 xoxo
Happy Birthday, Ray! Thanks for all the cinematic magic. 🙂 xoxo
Just another Monster Movie Monday here at Kinky Horror, and this one’s a real clas-sick. We’re going all the way back to 1932 disturb the dead and resurrect… White Zombie!
White Zombie is a personal favorite o’ mine and is one of the finest fright flicks to rise from the public domain. It stars Bela “Bringing SeXXXy Drac” Lugosi as Murder Legendre, who is certainly no traditional bokor, but knows how to get the dead movin’. He’s hired by Charles Beaumont (not the Twilight Zone one) to work his wicked witchcraft, although, he knows, it’s strictly taboo. Ol’ Charlie wants him to make the beautiful Madeline his wife, so Murder makes her a zombie! However, Charlie soon learns that trusting a man called “Murder” who controls zombies may not have been the smartest move…
The film is often cited as the first zombie film ever made, but don’t eXXXpect much flesh-eatin’ goodness. What makes this film a true nightmare is its bizarro, hypnotic atmosphere. Sure, it lacks gore, but it’s still pretty darn spoopy! This film puts you in a terrifying trance, as if you were under the control of Murder himself. Speaking of that ghoul, Lugosi’s deliberately stilted performance is brilliantly weird and from a realm different from our own. Murder is certainly not the most endearing of Lugosi roles, but its definitely one of the creepiest. Oh, Murder… we love that voodoo that you do so well… 🙂
Fall under the spell and watch White Zombie below:
P.S-. A little-known rock band named themselves after this movie… I hope those kids go places. 😉
Ho-wdy, Kinky Kreeps! Just another Mad Monster Monday here at Kinky Ho-rror, so we’re using a rubber…suit, that is. 😉
Today’s featured creature feature is 1967’s Monster from a Prehistoric Planet… among a thousand other names! The film has also gone under the tit-les Daikyojû Gappa, Gappa: The Giant Beast, Gappa, The Triphibian Monster, Gappa: The Triphibian Monster, and Gappa – Frankensteins fliegende Monster (Gappa – Frankenstein’s Flying Monster) in Germany. That last one is especially awesome because this movie has zero to do with Frankenstein!
The only thing it has in common with Frankenstein is that it seems to be made up parts of other films, namely Gojira (1954) and Gorgo (1961). It’s been suggested that the film is a satire of kaiju films, but it resembles the real thing closely. And, if you’re a kreature kreep like us, that’s far from a bad thing! This film is loaded with kind of low-budget destruction we here at KH adore!
You know what they say… big feet… big monster!
Check out the giant-sized terror below:
Have a Monstrously Marvelous week, Kinky Ho-mies! 🙂 xoxo
You don’t hear much about House II: The Second Story, so out of curiosity, I decided to see what the “professional” critics thought of it and jumped over to Rotten Tomatoes, because as we all know that’s where you go if you want opinions that matter. I’m actually shocked that this film holds a 0% rating currently on Rotten Tomatoes, based off nine reviews. A zero. Zilch. Nada. It’s not a bad film, at least not in the sense like a Transformers movie is, but I can see why people may dislike it; it very much steers away from the tone and satire the first film so brilliantly blended and is basically just a slapstick version of Indiana Jones with alternate dimensions. Hell, based on what I just said, that doesn’t sound too bad. I suspect that the watering down the horror elements and making it more zany and whacky is why critics didn’t seem to like it at all. Geez, it’s like they wanted a carbon copy of the first film, but with different actors… because that works so well with other franchises.
Okay, maybe they toned it down just a little too much, because despite that PG-13 rating it has (back when that meant something), House II is pretty much a kid’s movie. As I said, much of the horror is gone and mostly used for cheap and quick boo scares and the slapstick comedy is ramped up and the lead character is even given a whacky sidekick. Mix that in with a drinking elderly mummy from the Old West who speaks with a ‘oh-gee-shucks’ style and a cute puppy/caterpillar hybrid (yes, that is something that exists in this movie) and there ya go. The only thing I could think of that kept House II from getting a PG rating is the constant drinking going on in nearly every scene. There’s so much drinking in this movie that even my liver was killed by all the alcohol consumption.
Not taking place in the same house, but a different house (the movie is called House II, afterall). This time, it’s a rather large mansion that Jesse (Arye Gross… I don’t know, ‘ar ye’?) inherits, so he moves in along with his girlfriend Kate (Friday the 13th Part VII’s Lar Park Lincoln) along with his goofy friend Charlie (Jonathan Stark) and his wanna be popstar girlfriend Lana (Amy Yasbeck). I’m gonna talk about this subplot now, because at about halfway through the film the it’s dropped like a son dad is ashamed to talk about at Thanksgiving dinner. Kate is a record producer and Lana just so happens to be quite the singer, so Charlie and Lana are in hopes of getting her signed on to a record deal. Lucky for them, Kate’s boss (played by Bill Maher of all people) has the hots for her and listens to what she says and, well, that’s about it really. Once there is a misunderstanding with one of Jesse’s ex-girlfriends at a party about halfway through the movie, Bill Maher just puts his arms around the girls and escorts them and himself out of the movie. This is never really resolved, but then again it’s not really that interesting. Jesse and Kate barely share any screen time, so there’s no chemistry between the two. I also want to mention that it took me forever to recognize Jonathan Stark was the badass, undead Billy Cole in Fright Night!
The interesting stuff revolves around Jesse and Charlie’s misadventures once they learn about something called the crystal skull after seeing it in a photo with Jesse’s great-great grandfather also named Jesse (Royal Dano). Figuring the skull was probably buried with him, the two decide to go dig him up and find that he’s not only a mummy, but still very much alive. After Jesse reveals their connection and christian him with the nickname Gramps, they take him back to the house where they spend a good time in the basement shooting the shit, drinking some beers and hearing Old West stories. It’s a pretty charming scene and Jesse and Charlie seem so enthralled by Gramps’ stories. Upon seeing his own reflection, Gramps is heartbroken that the skull kept him alive, but did not restore his youth like he had hoped. I should also point out at this time that the skull’s powers are never fully disclosed, but just vaguely given. Very vaguely. I think the most descript explanation it’s given is along the lines of “it’s powerful.”
Oh, Gramps also informs Jesse that the house has multiple portals to alternate dimensions and he now has to protect the skull from danger and all this other nonsense. Jesse doesn’t say anything, he just kinda accepts it and everything in every dimension must’ve noticed the rookie taking over, because they all start trying to nab the damn skull. Luckily Charlie just happened to bring a fucking Uzi and enter multiple dimensions, like a prehistoric one where they befriend a baby pterodactyl that even comes to live with them, because funny! They even rescue some virgin babe she not only becomes a Mayan sacrifice, but also because Jesse now needs a love interest. However, there is a darker force looming over them, willing to get the skull at any cost… the zombie corpse of a man named Slim, Gramps’ old rival. Slim gunned down Jesse’s parents at the very beginning of the film at an attempt to get the skull, now Jesse, Gramps and Charlie get some payback and protect the skull at all cost or Slim will take over the world… I guess? His plans are unclear, but it probably won’t be good.
By far, the best part of the movie comes in form of John Ratzenberger (this film’s Cheers’ cast member cameo) as an electrician who also happens to be an adventurer. Yeah, this is a full time gig for him, both the wiring in your house and the multiple dimensions, swashbuckling, rope swinging and treasure hunting. He’s so nonchalant about it and plays it very low key, like he’s seen it so many times that he’s no longer impressed by it. At the end of it, he hands the boys his business card, which feels very much like a potential spinoff I would still love to see. His performance is very hysterical and in his brief time on screen, you’ll want more of him and beg for his further adventures and honestly, that’s what House III should have been instead of the series trying to get back to its horror roots.
As like in House, House II also has a majority of impressive practical effects and a handful of not so good ones, the most impressive being the mummy or zombie makeup on Gramps and Slim. Gramps isn’t gross or decaying, but rather dried out looking fitting into his cowboy motif and hey, it won’t scare the kids. That’s left up to Slim’s design, which is decaying and much more darker and wetter looking, plus Megatron himself, Frank Welker, does the voice! The animal puppets, like the dog/caterpillar and the pterodactyl, are wide eyes and cute looking as opposed to looking like the monstrosities they actually would resemble to further indicate the movie’s intention to reach a younger audience. I know every kid would want a stuffed toy of the dog/caterpillar, but alas the marketing department screwed the pooch on that one, for lack of a better pun.
The film is paired with the first film in a double box set in the US (the UK got all four House films in their box set), House: Two Stories released by Arrow Video. Like the first film, House II is also a 2K remaster that looks absolutely fantastic, but also like the first film, doesn’t have much in the way of special features. There is a pretty indepth feature called It’s Getting Weirder!: The Making of House II: The Second Storyfeaturing interviews with Ethan Wiley, Sean S. Cunningham, stars Arye Gross, Jonathan Stark, Lar Park Lincoln, and Devin DeVasquez, composer Harry Manfredini, special make-up and creature effects artists Chris Walas, Mike Smithson, visual effects supervisor Hoyt Yeatman, and stunt coordinator Kane Hodder. Writer-director Ethan Wiley and producer Sean S. Cunningham provide a new commentary and a theatrical trailer and a still gallery round it out. There’s also some stunning new artwork by Justin Osbourn.
House II: The Second Story is a comedy right from the get-go. I mean, look at the pun right in the title. The title not only implies humor, but adventure as well and that’s exactly what we get and is it a perfect combination of the two? I’m gonna have to say no, but I don’t think it’s terrible either. In fact, I think the majority of it is fun, but there are moments that are rather childish (backing up my argument that this was aimed towards children) or poorly paced moments that make it feel dragged out. The feeling that this was aimed at a more younger, more marketable audience and the seemingly loosely connected adventures gives the film a feeling like it’s a handful of episodes of a failed TV show in the late ‘80s strung together and re-released as a movie so the company can try and recoup some of the financial losses. Hell, even John Ratzenberger’s character felt like he was shoehorned in as an attempt at a spinoff. The funny thing is, if they actually went for the PG rating and released this as a kid’s movie, I have a feeling it would have been far more successful.
House II, while not as good as its predecessor, still has some merit and can be a feel good, fun adventure even if it does feel a little childish.The characters are likable and have great chemistry together and honestly, I wouldn’t have minded seeing more. I can’t say the same for the other two films that follow and un(?)fortunately, House III (aka The Horror Show) and House IV aren’t included in the US Arrow set, The Two Stories. However, if you’re a completist, you may wanna get the UK version of this set that includes all four films.
Ass-uming you’ve never seen it, 1932’s The Mummy may be a tad unexpected. For a film that inspired an entire sub-genre of mummy monster movies, it bares very little resemblance to subsequent films. There aren’t any real action set pieces and the story is a strangely poetic fantasy of a love that transcended the ages. The tit-ular mummy (played by the beyond great Boris Karloff) is only bandaged for a short time at the beginning, so there’s very little shambling. It’s a deliberately paced film with gloomy, eXXXpressionistic atmosphere. After over 80 years of other mummies in its wake, the film still feels unlike any other film to feature a bandaged ghoul. One such film that it has very little in common with is 2017’s The Mummy.
Universal actually has a history of rebooting this particular monster. While commonly referred to as “sequels,” the truth is that the Mummy films of the 1940s were hardly a continuation of the Karloff original, despite the first installment’s (The Mummy’s Hand) use of sets and footage from it. Imhotep of the original was replaced with Kharis, the shambling mummy most audiences vaguely recall. The Kharis films moved at a faster pace, had more action, and more comedy. They were all a great deal of fun, but none of them came close to the beautifully eerie original. When Universal took another crack at the sarcophagus with 1999’s The Mummy, they clearly found more inspiration in Kharis than Imhotep, although they did borrow the latter’s name. With this new Mummy, it seems that the filmmakers drew from the 1999 film more than any of the other previous films. There’s hardly an ounce of Karloff left in it. In essence, it’s the reboot of the reboot of a film made 85 years prior. With that in mind, it’s pretty easy to divorce it from the first film. And as one in a long line of monster movies, It’s pretty enjoyable. If viewed as just a bit of fun monster nonsense, it’s a good deal of fun. This film is precisely the sort of film you should be watching with an eXXXtra large soda in one hand and a plastic tray of nachos (and/or Twizzlers and Reeses’s Cups :)) in the other. I’m also pleased to report that, for the most part, the film is a ho-rror film. That is to say that there’s a good deal of zombie-ish mummies, creepy critters, terrible curses, shocks, thrills, and soul-sucking. I doubt there’s anything that’ll give you lasting nightmares, but it’s always fun to see some theme park-y scares on the big screen. The action and spook-scares compliment each other nicely and make for a groovy night at the movies. While I would’ve preferred something a little more Gothic, what we have pretty entertaining. The film stars Tom Cruise as a scrappy treasure hunter (very similar to Brendan Fraser’s Rick O’Connell) and Sofia Boutella as the tit-ular Mummy. Mr. Cruise seems like he’s having a blast and gives charm to a somewhat jerky character. Ms. Boutella is striking and fairly menacing as the Mummy, but she really isn’t given much too do. This version of the monster is devoid of any of the tragedy of the role once had. As much as I enjoy Mr. Cruise (and trust me, I do!! :)), I do wish they had focus more on the Mummy as a character. Instead, she seems like secondary figure in what should be her film. Also in the film is Russell Crowe in the role(s) of Dr. Jekyll and… you know who. He’s fun in the film, but it seems like they plan on eXXXploring that character(s) in a potential sequel.
The Mummy is intended to be the first in a series of new Universal Monster Movies and I do ho-pe it does well enough for sequels. By no means is this a great film, but it’s a fun popcorn flick. The Universal Monsters are among my dearest ho-mies, so any eXXXcuse to bring them back is fine by me. Ho-pefully, the sequels will embrace the Gothic nature of the original films and bring back some of the cl-ass-ical horror that made them immortal. For now, The Mummy is monstrous enough for me. To a new world of Gods and Monsters.
(Submitted by Mr. Andrew Peters…Thanks, my Ho-use-lovin’ ho-mie! 🙂 xoxo)
Where have all the good haunted house movies gone to, huh? I’m talking about the ones that are both fun and scary, the ones that are worth a laugh and a fright. Goes back to the old saying, “they just don’t make them like they used to.” I’m not complaining that all haunted house movies are bad, in fact some of them have been pretty darn good in the past few years, but they are horror rather than horror comedy. Well, unless you count those family friendly ones that occupy the Redbox that are neither scary nor funny. Admittedly, it’s a hard combination to juggle without getting too campy, but 1986’s House, while a little campy, nicely balances that fine line of horror and comedy.
Sean S. Cunningham, the producer of 1972’s The Last House on the Left and director of 1980’s Friday the 13th knows a thing or two about horror, so when he was attached to produce House, it may come off as puzzling to some since those films had such dark and serious tones. However, what people don’t know is that Roger Corman was an executive producer, so that could explain the camp factor. Staying with the Friday the 13th connection, Steve Miner, who had directed Friday the 13th Part 2 was at the helm directing a script by Fred Dekker (who would go on to make movies, like Monster Squad and Night of the Creeps) and Ethan Wiley, so this could explain why the movie nearly flawlessly handles the genres. You throw in Sean S. Cunningham’s buddy and composer Harry Manfredini and it’s safe to say that the film was in good hands. Of course, this was before Steve Miner directed terrible films, like Halloween: H20 or that abysmally insulting Day of the Dead remake, so this is before his decline when he was actually making good movies.
The Greatest American Hero star William Katt plays Roger Cobb, a writer who has a few issues (hey, you wouldn’t be a writer if you didn’t, right?). For starters, his kid suddenly vanished one day in the swimming pool and he couldn’t hold it together, so his hot actress wife, Sandy Sinclair (Kay Lenz) leaves him. Then his nutty aunt Elizabeth hangs herself in a big ol’ spooky mansion, the very one where his kid went missing. Roger inherits the house and decides to move in, because what better place to write his book based on his Vietnam experiences than a house he already has numerous traumatic connections with? After all, good writers pull from real life tragedies, but I think he may be overdoing it here. When he’s not pretending he’s throwing big parties while on the phone with his ex-wife, he’s possibly hallucinating his dead aunt marching around the house. So if he’s not seeing dead people, he’s dressing up in his old combat gear to try and having Vietnam flashbacks. I assure you, Roger isn’t crazy, but the film is setting up a rather interesting piece of character development that would be considered ahead of its time.
Norm from Cheers (George Wendt) is his neighbor Harold who stops by to play the comic relief, otherwise we’d have a very down trodden Vietnam metaphor movie on our hands. He may provide us, the audience, with laughs, but he tends to get on Roger’s nerves when he isn’t providing beer or snacks. More often than not, Harold is a distraction from Roger’s writing at convenient times, like when he’s having some serious Vietnam flashbacks about some big ox of a soldier name Ben (Richard Moll). After Ben was wounded in combat, Roger couldn’t bring himself to finish Ben off, so he was subsequently dragged away by the enemy and tortured for weeks. It something that seems to haunt him, but now that haunting may seem to be manifesting physically as one night a monster pops out of the closet and claws at Roger’s torso! Knowing nobody will believe him, he knows that he will need evidence, but only makes himself look nuttier than a Payday in the process, wiring and rigging a number of cameras to go off right when he pulls a string and does the Pete Townsend powerslides on his knees out the front door and then reality kicks him hard in the nards as he’s just sitting there with Harold staring at him. Awkward.
Nobody believes poor Roger that some pugnacious hauntings are happening. Not Harold, not Sandy. Nobody. Could it all be in Roger’s head? That’s what you along with the other characters are starting to think at this point and it’s probably the most brilliant aspect of this movie. Long before it had a name it could be identified with, House was ahead of its time and was bringing attention to PTSD. I have to commend William Katt’s performance, because he really brings emotion of someone losing their grip on reality to the forefront here. As he pleads with Harold or whoever that the monsters are real, beads of sweat roll down his face, his voice cracks and you can see and hear the desperation that he just wants someone to believe him. Even when he is by himself being chased around the house by the specters, you start to wonder if it really is all in his head or if it’s happening. When he imagines his ex-wife stopping by and turning into a weird, blobbish, twisted version of her, he shoots it only to see it may really be his wife, you figure he’s definitely lost it and he killed someone. He breaks down in tears, but all is not as it seems as the monster rears its ugly head once again and this time, he cuts it up and buries it. The scene goes from being boo-scary, to horrifying (in the sense that he may have murdered a person) to funny, so the film wants to not only play with tone, but to also play with your expectations.
Not giving up, Roger is determined to make someone believe him and who better than Harold? After finally witnessing some sort of ghoul, Harold fails at helping Roger who is dragged into the closet and teleported to what looks like the Vietnam war where he comes across his missing son, but that’s not the only one. It seems like a familiar face, as rotten and decayed as it may not be, but familiar nonetheless, was responsible for kidnapping his son and now it wants revenge. Roger is now pitted against an old frenemy as he battles for his son and possibly his own sanity and really if you look at it like the events are all happening in Roger’s head, the film still works as a drama comedy instead of a horror comedy. I think that’s one of the best things about House, is that no matter how you perceive it, the film still works as that genre. Regardless of what was actually happening, it’s still about Roger’s struggle with the effects of war and coping with the loss of his son. It also just happens to be about spoopy ghosts.
Some of these ghosts are downright ghastly, like the closet monster with its many arms or the monster version of his ex-wife that has a high pitched, distorted voice that makes me feel uncomfortable, while others… eh, not so much. The two children monsters that come out of the chimney look dreadful in the wrong way. Their mouths and eyes don’t move, they look cheap and rubbery. In the midst of this fun film with great creature effects, you get these two that looks like the budget ran out, so they had to run to the Halloween store and get some cheap costumes. They aren’t prominently displayed on screen or featured very long, so it’s not very troublesome, but for the brief period of time they are on screen they can be an eyesore. Perhaps the best looking makeup effect is that of Ben all zomb-i-fied. Basically, take the look of Jason from Friday the 13th Part VII and slap some Vietnam garb on on Bull from Night Court and there ya go. He has exposed bones and organs, he looks dusty yet slimey, it’s absolutely fantastic looking.
Some of these effects may look less impressive on the new 2K restoration from Arrow Video. While the film itself looks marvelous, what with edges being sharp and colors being bright and vivid, it suffers a bit from looking too good. Often there were times you could see the faults in the makeup or prosthetics, like being able to see actor Richard Moll’s mouth painted black behind the false teeth of zombie Ben. It’s a minor nitpick and didn’t ruin my experience of the film. If anything, I was happy to finally view the film nice and clean for the first time, seeing as the only viewing experience I’ve ever had is my old VHS copy. The audio commentary by director Steve Miner, producer Sean S. Cunningham, actor William Katt and screenwriter Ethan Wiley is a good listen, providing some insight and memories on the making of the movie. Speaking of making the movie, there’s a great feature included called Ding Dong, You’re Dead! The Making of House that includes interviews with Steve Miner, Sean S. Cunningham, Ethan Wiley, story creator Fred Dekker, stars William Katt, Kay Lenz, and George Wendt, composer Harry Manfredini, special make-up and creature effects artists Barney Burman, Brian Wade, James Belohovek, Shannon Shea, Kirk Thatcher, and Bill Sturgeon, special paintings artists Richard Hescox and William Stout, and stunt coordinator Kane Hodder. Trailers and a still gallery round out the features.
I don’t think House is overlooked, but I think some have forgotten about or others may think it’s just a jump scare horror film, which it is, but it’s more than that. House has a message, something to say about the then unnamed PTSD and how some Veterans are affected by it and struggle. It’s also a charming comedy with plenty of likable characters and funny moments. In the wrong hands, this film could have been a disaster. A lesser cast and crew would have failed at juggling all the themes and ideas, but luckily you had a handful of talented people treating it with care and having a lot of fun that translates on the screen. The film is an absolute riot. It’s witty, charming as well as being scary and funny. I can’t think of many other films that are able to do all of that as well House. The film is packaged here in the states along with its sequel, House II: The Second Story, in a neat little box called House: The Two Stories. Although the UK got all four House films in their boxset (I’m guessing the US couldn’t due to rights issues), I’m happy at least the first film got a proper Blu-ray treatment. Well, maybe the second film too.