'The House' Netflix Review: Stream It Or Skip It?

Table Of Content

• Netflix's The House Release Date, Cast, And Plot - What We Know So Far
• A collection of three stories each exploring a different kind of terror
• Netflix Animated Comedy ‘The House’ Season 1: What We Know So Far
• Reasons Why Investors Should Buy the Latest Dip in Netflix Stock
• Briana Cuoco as Jenny Green
• The Royal Opera House Is Changing Its Name and Chasing a Netflix Series

It’s not perfect, with The House losing its way when it substitutes the surreal for more cheery plot elements. But its quirks, gallows humor and shock value, coupled with its superb animation and anxiety-inducing disposition, largely make up for its flaws. And, amid other Netflix originals set to land in January 2022, including Ozark season 4, The House is a uniquely devised miniseries that certainly stands out among its peers.

Netflix's The House Release Date, Cast, And Plot - What We Know So Far

However, she dropped out after becoming infected with supernatural parasites, allowing her to see ghosts and help the Dead Boy Detectives. In a world that suffered an apocalyptic flood and is populated by anthropomorphic cats, the house is surrounded by water which keeps rising. Rosa, the landlord who cherishes the memories of her days growing up in the house, dreams of restoring it to its former glory. However, she struggles financially; and her only tenants, fisherman Elias and hippie Jen, do not pay rent despite her insistence; she consistently ignores their attempts to address the rising water.

A collection of three stories each exploring a different kind of terror

The couple picks the developer up from the hospital and brings him home, where their family welcomes him back, many of them now sporting additional limbs. The final scene shows the family ravaging the inside of the house—climbing up the walls and chewing through everything. The developer, having regressed to animal-like intelligence, briefly emerges from the remains of the oven to eat garbage before retreating underground.

Netflix Animated Comedy ‘The House’ Season 1: What We Know So Far

Goth appeared in "Suspiria," while Richardson has been a part of multiple Tim Burton films. 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. Each story is a standalone, with Chapter One directed by Emma De Swaef and Marc James Roels, Chapter 2 directed by Niki Lindroth Von Bahr, and Chapter 3 directed by Paloma Baeza. Each director uses the techniques of the medium, but their aesthetics, visual approaches, and narrative styles are all deeply unique and rewarding in different ways.

After a visit from his overly critical mother, the father of the family, Raymond (voiced by Matthew Goode), takes a drunken midnight walk and makes a deal with a mysterious architect who offers to gift the family a new, luxurious house for free. The House also features some of the best-looking stop-motion animation you’ll see outside of a Laika film. The final story, meanwhile, is more ethereal, with foggy backdrops that signal something approaching the end of the world. The only constant is the house, which is always recognizable despite superficial changes over the years. The House is a deeply unsettling miniseries that'll get under your skin and occupy your mind long after the credits have rolled. Netflix and Nexus Studios' stop motion anthology show may be a bit too arthouse for some, and its ending doesn't fully align with the stories that precede it.

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As the water and mist continue to seep into the house and Jen prepares to leave the house with Cosmos, she puts Rosa into a dream-like trance, in which Rosa sees the house destroyed and her friends abandoning her. Emerging from the vision, she sees Jen and Cosmos sailing away, calling for her to join them; but the boat is too far away. Remembering a large lever Cosmos had built, she pushes it, transforming the house into a seaworthy vessel. Encouraged by Jen, Cosmos, and a returning Elias, Rosa takes control of the house ship, escaping as the floods destroy the surrounding foundations, and the four sail out into the ocean.

If you’re a fan of animation, all three are visually sumptuous exercises that challenge the boundaries of the medium. 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. They discover the music is coming from Mr. Devlin’s hidden computer room, where he has cameras set up around the house so he can constantly be aware of the goings-on of his family.

Briana Cuoco as Jenny Green

And while Walsh’s scripts don’t initially seem to take place in the same world or have much in common, apart from the house’s layout, this third segment brings all three into focus. In the second segment, from Swedish director Niki Lindroth von Bahr, the characters are rats. While the bones of the house and the lines of its exterior are exactly the same, it seems to be a different place entirely — an airy, spacious home located in a bustling city. But the house is infested with hard-to-eradicate fur beetles, which have other ideas for the place.

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. 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.

All three parts of The House have their nightmarish aspects, often literally, as reality shifts around the characters, or ordinary objects are imbued with dread. In spite of the furry characters in the second two stories and the child protagonist in the first, this anthology isn’t meant for children. It isn’t violent or sexual, the usual signs of “not for children” fare, but its focus on unnerving the audience and unmooring the characters from reality makes it a more adult saga than most stop-motion projects. Shortly after that, a mysterious, eccentric architect offers to build the seething Raymond and his dubious but supportive wife Penny (Claudie Blakley) a lavish new home, on the condition that they move there and never leave. Through all three stories, the animation is the star, with the textures of each character’s fur or skin manipulated as much as their limbs and heads are, and the movement made so smooth as to make the viewer forget it’s a stop-action animated film. Despite the grimness of the stories, the expressiveness of the animation is what kept us engaged.

Maybe it isn’t saying much to note that Netflix’s stop-motion film The House features the most disturbing, skin-crawling, stomach-flipping vermin-based musical number since the 2019 CG-fest Cats. But it should count for something that this collection of three weird animated stories is so capable of unnerving an audience with something so gleeful and playful. The film isn’t traditional horror, but it has deep-rooted horror elements that may creep up on viewers, just like those dancing parasites do.

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By making them rats, we wonder if Lindroth, the segment’s director, was insinuating that if anyone will survive this world, it’ll be the rats and fur beetles. The tone of it was definitely lighter, though the developer’s desperation was palpable throughout, especially as he tries to sell this boondoggle of a mansion to prospective buyers who all seem indifferent. The weird couple that invade were certainly off-putting, to say the least, but it gave someone for the developer to bounce off of, rather than just mutter to himself.