Jude law and carrie con in home.
Photo: IFC Films
home There is a horror film from which the original horror has been removed, leaving behind only the dreaded and all ominous trails. Like the house that serves as its main location – a hideous old manor with wooden frameworks in the Surrey countryside and enough space for a family of four to get lost inside it. There is nothing supernatural about that place as the proud grandfather Rory O’Hara (Jude Law) wrangles for his wife and children when they first arrive, once they work on an album. The LED was hired by Zeppelin. But it doesn’t really need to be for this to scare Benjamin (Charlie Shotwell), the younger of the two children, who seeks the sanctuary at night with his teenage sister Samantha (Ona Roach), when he calls her out. Exhales, then wanders into her room up to the dark hall, as if she is not sharp enough, to drag her into the shadows. And then there is the horse, which is that of wife and mother Allison (Carrie Coyne), a beautiful black beast that has not been the same since New York moved to the UK as the soundtrack comes with the audio of her crisis, There ominous jhum on a half-baked structure in which it is fixed, as if it were a creature.
As a virtuous film about the slowing of the family unit, home No need for the help of haunting or demonic forces – the call, as they say, is coming from inside the house. This is coming from Rory, mostly, for a fast-talking commodities broker with a taste for what he cannot buy. It’s the ’80s, and Rory, who has been an Englishman abroad for years, uproots his family and takes him back to the London area when he finds what he describes as a job offer Is that he is very good. This is a lie we learn with Allison, as Rory’s boss, Arthur (Michael Culkin), holding a camera on his frozen face at a party, gives a speech about how his former employee called him And pitched his services. And yet Allison has not encountered Rory, now serving as a co-conspirator and enabler in her husband’s game for a while. She does not tell him about the cost of the house (“it will be less than you think!” She promises) and she plays along when he tells his co-workers that they own a penthouse in New York and one Looking to pick up the pie. -A-Terre in Mayfair. Rory has been keeping this pawn for so long that he can’t even be honest with himself about it, but the way Allison has hidden the cash signs and how many times they’ve been out before.
home The second feature is from filmmaker Sean Durkin, who once again made a splash in 2011 Martha Marcy May Marlene, Which launched Elizabeth Olsen’s career through what you might call the title role, as a young woman who had survived a cult that still holds her mind. Durkan did not disappear after that debut – he made the glitter a 2013 tower Southcliffe For Channel 4 in the UK – but this follow-up is long in coming, and it is quite impressive to make you wonder why. When it comes to using the space, Durkan has a real skill, boxing up the characters by turning the family’s gloomy country house into a vane of doors and hallways, and framing the glass-walled office , Through which Rory is instigated during a performance at a zoo. . Shots like a family member at one end of the massive Elizabethan table that came with the house, or trying to fit the lavish space to their suburban furniture, without saying a word how poorly it fit this lifestyle Huh.
While all four of the family experience their own personal misery – Benjamin taunted, Samantha is bored and rebellious in the likes of friends – it is around Allison and Rory that the film really revolves. Coon and Law offer the pair one of the best performances of the year, Law leans into the air of artificiality that can accompany his beauty, and Coon allows his character’s buried anger to suddenly bubble up Allison finds herself horrified. At a dinner they can’t sit in, the couple play one form of chicken with each other, Allison orders the most expensive items on the menu, and Rory is affectionate over his taste in wine. They perfectly match in their sprung splendor, these two people who have been drained for years by pretending to be something they are not chasing a dream they cannot fully articulate. As a statement on a decade of consumerism, home There is nothing particularly new to say, but as a fable of family perversion, it is resonant and, yes, frightening, with a ghost in sight.