All Critics (56)
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Top Critics (11)
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Fresh (6)
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Rotten (51)
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DVD (1)
A choppily edited, poorly timed mess with little continuity, overloaded with aural shocks in a desperate attempt to compensate for its minimal suspense.
Tonderai steers the story cleanly around its queasy hairpin turns, perversely toying with one of pop cinema's most cherished clich�s: the audience's inculcated desire to side with the underdog.
What could be so bad about a new Jennifer Lawrence movie that its distributor opts to keep it away from critics and release it with minimal ad support? Please, allow "House at the End of the Street" to answer that question.
This is the rare horror film so bad you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on.
Originality, or lack thereof, isn't really the movie's problem. Execution is.
A schlockly spin on the girl-in-jeopardy genre.
A clunky, run-of-the-mill horror flick written by the same guy who penned last year's similarly themed disappointment, Dream House.
It isn't very scary, but it does pile a bunch of really tasteless twists on towards the end that make no sense and it almost becomes a comedy. On one hand, is a failure as a horror film, but as an exercise in desperation, it's kind of a hoot
exactly what you'd expect from a PG-13 horror movie dropped in September. There's really nothing particularly scary about it, and the story ranges from shaky to thin
House at the End of the Street is nothing more than a lazily-written horror film that falls back on every cliche possible while failing to provide any scares in the process.
House at the End of the Street reveals itself to be merely another forgettable PG-13 thriller banking on the brain-dead mall crowd to tweet their unending love for a crummy feast such as this.
The screenplay has a nice twist that could have supported a stylish giallo-style thriller; unfortunately, director Mark Tonderai delivers a mess -- an almost random tangle of choppy edits, handheld camera, 'shock' sound effects and other horror cliches.
Formulaic, unoriginal suspense thriller aided by a plot twist and good leads, that might delight the less-gore-is-more teenage audience.
A routine 'Don't go down to the basement' thriller, but watching Jennifer Lawrence go through her paces makes it enjoyable.
The filmmakers elect to emphasize every plot point and telegraph every plot twist with the delicacy of a train blaring its horn as it approaches a crossing -- and yet that isn't even their greatest sin.
Borrows so liberally from other movies that it could have been fascinating, but due to confused direction and a mishmash of acting, it's ultimately bland and forgettable.
Lawrence is fine as the solo-parented teen and Thieriot does a mean Tony Perkins (circa Pretty Poison, but on downers), but the sheer tedium of the storyline means you never really care about any of them.
[T]he scariest thing about [this] is that this sort of junk is considered a good career move for a young actress who's just come off a small film from a respected indie director...
Saying that House at the End of the Street is contrived is an insult to contrivances.
Shockingly uneventful, this horror film marks time until dropping its big, dumb reveal.
... Typical of modern horror movies, jump-scares (which are startling, not scary--there is a difference) sprinkled throughout deflate the suspense before it builds much.
Clearly designed as a downbeat, character-driven psychological thriller, not a shock machine...but it never really pays off, in part because it relies too often on the very clich�s it aspires to avoid.
Don't be tempted to put in an offer; this house is built on flimsy foundations.
You've seen every twist and turn before and it's all played completely straight. A Scream-esque knowing wink would make it all far more palatable.
Its talented lead is reduced to being just another scantily clad babe getting stalked by a psycho.
A "sleepover night" horror movie made for young people who haven't seen many good horror movies.
63%
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Top Critic
