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On the weekends, watching it with a bunch of friends on the streaming platform or television would do better. Cohen cuts so briskly from each scenario to the next that they never register. And the most significant shift of all—the one that occurs within Scott and Kate—is the most extreme and the least plausible. Out of nowhere, she’s smoking pot non-stop and he’s reinvented himself as an enforcer known as “The Butcher.” They start wearing flashy, gangster-style clothing. And in case we couldn’t detect for ourselves that they’ve entered shady territory, the theme from “The Sopranos” plays in the background at one point. Chapter 3 introduces the most beautiful landscapes of the whole film, taking place post global flood as homes are now rendered as tiny islands in an ecosystem threatening to swallow everything in its path.
The House (2017 film)
Following in the footsteps of the house flipper, Rosa (Susan Wokoma) is a cat that acts like a human. She owns a large house in huge disrepair that she is single-handedly trying to renovate into an apartment complex. As she labors daily to wallpaper rooms and battles broken pipes, her only two renters, Elias (Will Sharpe) and Jen (Helena Bonham Carter), try to get her to engage in the realities of her losing proposition. It ends up being a poignant exploration of the pain of change and how we cling to places to our detriment. In terms of the individual stories, Chapter One makes a strong argument for itself as the most successful of the three just because of its precision in telling an M.R.
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The three-story anthology explores the many definitions of what a house can be using different tones and techniques. It also proves the vitality that this special kind of animation can bring to the screen. A worthy watch that hopefully inspires more stories of its kind in the future. Will Ferrell is playing a father who starts an illegal casino to get back their daughter's college trust fund in The House. It was about the parents who lost their daughter's college scholarship, now wants an alternative solution, so they decide to go illegal.
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Unfortunately, during a community town hall meeting, city councilor Bob Schaeffer announces that they will not be doing the scholarship program, in favor of building a community pool, to which everyone agrees except the Johansens. The couple tries to find funding through asking for a loan, a salary raise for Scott, and getting Kate's job back, but everything is denied. They reluctantly agree to accompany their friend and neighbor, Frank Theodorakis, whose wife Raina is divorcing him over his gambling and porn addiction, to a previously-planned trip to Las Vegas. After numerous wins playing craps, they lose their winnings after Scott jinxes the table by telling Frank not to roll a seven. Jump to the last chapter, by Paloma Baeza, and the world has gotten even more chaotic but quieter.
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Dawn Mayweather, the town treasurer, alerts Bob that the Johansens are in the town hall, which convinces Bob to go back. After chasing the Johansens, Bob reveals his personal interest with the casino money as well as his plot to steal money from the city budget for himself and Dawn, who leaves him and returns to her husband Joe. Bob is arrested, while Scott and Kate use the money they took back from him to pay for their daughter's college tuition. After Scott and Kate Johansen (Will Ferrell and Amy Poehler) lose their daughter Alex’s college fund, they become desperate to earn it back so she can pursue her dream of attending a university.
“The House” is an animated anthology with an inspired narrative focus, as it tells the history of one building, across time and species. With its rising directors each employing a surreal style, it creates a rich balance of ethereal, existential storytelling with stop-motion animation that’s so detailed and alive you can practically feel it on your fingertips. Here, Ferrell and Poehler—fellow former “Saturday Night Live” cast members who also co-starred in “Blades of Glory”—barely seem to know each other, much less enjoy any sort of chemistry. On an ill-advised trip to Las Vegas with their gambling-and-porn addicted pal, Frank (Mantzoukas), they hatch a scheme to create an underground casino in Frank’s house. He’s in the middle of an ugly divorce, and his angry, estranged wife (Watkins) has cleared out much of the furniture, so there’s plenty of room for a craps table and a roulette wheel and such. Since they’re the house—and the house always wins—they should make enough money to pay for Alex’s college education in no time.
This is strikingly cinematic filmmaking regardless of the housebound constraints within each story. The cinematography, lighting, textile usage, and overall ambition of what they bring to life with such detail is flat-out inspiring. The teams behind The House should be commended for making the most of their storytelling time. From the use of water environments to intricate uses of in-camera focus pulls to fish tanks set pieces, no one is sitting on their laurels and phoning in their stories. At worst, it’s a refreshing use of the stop-motion technique, and at best, it’s hopefully bewitching and inspiring a new generation of animators to push their own boundaries. Ferrell and Poehler can only do so much with barely-there characters in half-baked situations.
The house is now marooned on a nondescript body of rising water, surrounded by a pink mist. But the current cat landlord Rosa (Susan Wokoma) is obsessed with refurbishing the place, and has a whole plan charted out. Meanwhile her two current tenants, Elias (Will Sharpe) and Jen (Helena Bonham Carter), don’t pay rent with money but they do share a type of family bond with each other. As the least bleak of the three shorts, this one shows how the promise of a house has a seductive power, representing a desire to cling to the past even when the floor below you is slowly flooding. It’s also another striking feat of stop-motion animation, with lifelike sets and clothes that practically breathe as the furry characters move. The foundation for the anthology is established by the gothic cloth animation of Emma De Swaef & Marc James Roels, who previously orchestrated the colonization mini-anthology short “This Magnificent Cake!
How to spot a bad film without even seeing it - The Guardian
How to spot a bad film without even seeing it.
Posted: Mon, 03 Jul 2017 07:00:00 GMT [source]
Having admitted their plot to Alex, they team up with Chandler, who had let them loose, to steal the money back from Bob. Chandler convinces Bob that the three continued the casino even after he had ordered them to stop, and shows a video of the people mocking him. Bob asks Chandler to go with him to arrest the Johansens at the casino, which gives the Johansens the chance to steal their money back.
It’s an effectively spooky short, one that gets a great deal of intrigue out what is unfolding in the shadows, prefacing the house as a nonsensical trap. Will Ferrell and Amy Poehler star as two loving parents who start an illegal casino to send their daughter to college in the trailer for The House. During their visit to Bucknell University, husband and wife Scott and Kate Johansen warn their daughter of the dangers of being in college. Alex acknowledges her parents' warnings and expresses her interest in attending the same university her parents went to. Alex gets accepted to the university, which the Johansens expect to be funded by their community's scholarship program.
James-esque tale of a family trapped within the walls of a house created to torment the adults within. The creative team also introduces us to a sister team for the ages with Mabel (Mia Goth) and Isabel. The pint-sized protagonists, with their smooshed faces, are voiced and acted so endearingly that they elevate the heart and the stakes of the whole piece.
The casino operation proves to be running smoothly as they gain more customers. In another community town-hall meeting, Bob becomes suspicious at the low attendance and suspends the meeting to launch an investigation. Back at the Johansens' casino, Frank discovers that one of the gamblers, Carl, is counting cards. The Johansens and Frank confront him, but he brags that he works for mob boss Tommy Papouli. Scott accidentally chops off Carl's middle finger, earning him the nickname "The Butcher", making the community afraid of him, which inadvertently increases their profits.
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