Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies. Type the characters you see in this image: Try different image Conditions of Use Privacy Policy © 1996-2014, Amazon.com, Inc. or its affiliates The House on Pine Street is a 2015 independent psychological drama-horror film written by Aaron Keeling, Austin Keeling, and Natalie Jones, and directed by Aaron Keeling and Austin Keeling. The project was partially funded through a Kickstarter campaign. Principal photography took place over 19 days in the spring of 2014. Synopsis[edit]After an unexpected mental breakdown, Jennifer Branagan regretfully leaves her hometown in Kansas at seven months pregnant. Jennifer fights to regain control of her life while dealing with her anxieties about childbirth, a tense marriage with her husband Luke, and the domineering influence of her own mother Meredith. Jennifer, however, starts to worry that their rented home might be haunted when odd things start happening there. As she tries to figure out what, if anything, is wrong with the house, Jennifer, who is alone in her beliefs, is forced to wonder if she is still sane. Cast[edit]
Production credits[edit]
Release[edit]The World Premiere was on February 28, 2015 and was part of the Cinequest Film Festival in San Jose, California that featured over 200 films including 91 World, North American and U.S. Premieres from over 50 countries. Reception[edit]This section needs expansion. You can help by adding to it. (March 2018) The San Jose Mercury News named The House on Pine Street as one of the "Cinequest 2015: 6 Films You Need to See". If it's gonna be dumb at least make it fun. That's surely the unwritten rule of horror. But this bland and generic haunted house indie makes the fatal error of trying to keep a straight face throughout, however predictable the events and however skin-crawling the dialogue. It's restrained in its deployment of violence – but also, sadly, in terms of enjoyment. Jennifer (Emily Goss) and Luke (Taylor Bottles) move into a big crumbling house in a sleepy Kansas suburb. She's seven months pregnant and reluctant. He urges her to give the place a go. They're soon visited by Jennifer's overbearing mother, Meredith (Cathy Barnett), whose presence seems to trigger memories in Jennifer of a previous breakdown. So when the house starts taunting 'n' haunting, the assumption is that Jennifer is simply on the turn again. Most of the horror (and accompanying tedium) emerges from the fear of not being believed, and the threat to mother and child. It's a familiar setup: giving a chance to an instantly creepy house; one partner who's nervous and one who's patient; the forbidden room; the secret past; the strange staring neighbours. I was surprised when no one finds a box of old video tapes and newspaper cuttings. The 'Better Movie Checklist' looms large: The Omen (creepy child); Poltergeist (tossed furniture and a visiting psychic); The Shining (ambiguous twins); The Haunting (a chilling case of mistaken identity). But more than anything there's the presence of Rosemary's Baby: motherhood anxiety seeps into the very fabric of the film; particularly its best scenes, between Jennifer and her scheming, possessive mother. There's a moment when Jennifer goes to her mum's house for solace, and they seem to slip back into roles that have existed since Jennifer's childhood. There's enough eerie tension here to suggest the story may be turning towards an intriguing third act. But that junction is promptly passed by. The overarching problem is, the cinematic influences are great but where's the USP? The drama is rote, the plot is plodding, and the scares are imaginative only on a micro level: mouse traps triggered by an unknown force, or boxes inexplicably moving of their own accord. Like many a horror movie without an identity, it starts well enough, with some intriguing, subtle spookings. But alas, it becomes quickly clear, through formulaic plot beats and zombified dialogue ("There's no such thing as ghosts"), that this is a movie lacking a unique personality. Speaking of which, Goss and Bottles put in a pair of performances which are adequate at best. Having far more fun are Barnett as the mother and Jim Korinke as the possibly-psychic Walter. The latter gets the best piece of bad dialogue: a WTF climactic speech about the forces of energy (or something) which is presumably meant to tie everything up, but which is so rambling and bizarre that you have to wonder if the actor himself knew what he was on about. The photography has a pallid appearance, all autumn hues and naturalistic lighting, which only serves to highlight the unconvincing characters and jars with the laughable events. When Jennifer is being tossed around by the poltergeist, a different score would have made it comedy gold. But instead we get by-the-numbers ambient doom music connoting something much more horrifying than what we're actually seeing. Remarkably, at the end I was left unsure as to whether a key character was meant to have died. The reactions of the other characters just seemed incongruent. I'm not sure if this was unforgivably poor writing and editing or whether I'd simply stopped caring by then. Either way it does nothing to endorse this very uninteresting and uninspired film. |
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