House of Last Things

House of Last Things is an American psychological thriller movie from 2013, directed by Michael Bartlett. The film features a talented cast led by Lindsey Haun, Blake Berris, and RJ Mitte, each delivering powerful performances that engage with the film’s deep, ominous undertones. The film brings together elements of suspense, mystery, and supernatural occurrences under the backdrop of an ordinary neighborhood in Portland, Oregon.

The story revolves around Sarah, played convincingly by Lindsey Haun, who works as a caregiver. Sarah is recruited to take care of the grand old mansion of the Ballantine family while its owners, Alan and Kelly (Randy Schulman and Diane Dalton), embark on a trip abroad to cope with a tragic loss.

The house, however, seems to harbor an eerie presence. Things become even more complicated when Sarah invites her boyfriend, Jesse, played by the charismatic Blake Berris, to stay with her. Jesse is a part-time musician struggling with his drug addiction, bringing the problems of the external world into the already unusual house. Alongside Jesse arrives his younger, impressionable brother, Tim (RJ Mitte).

House of Last Things deftly builds a sense of creeping tension as unsettling occurrences in the house escalate. The narrative loops and twists around past and present events, probing into the darkness that lies beneath the surface of seemingly ordinary lives. Puzzling events disturb the calm, and the characters must contend with situations that defy logic and challenge their understanding of reality.

Director Michael Bartlett carefully weaves in themes of grief, addiction, redemption, and regret through an intricately layered narrative that constantly keeps the audience guessing. Haun brilliantly portrays her character's gradual descent into fear and uncertainty as the house reveals its hidden, ominous character. Berris convincingly portrays the struggle of a man desperately trying to balance his personal demons with the increasingly untenable situation. RJ Mitte adds a compelling dynamic to the mix as the younger sibling who falls under the influence of both his elder brother and the mysterious, pervasive atmosphere of the house.

The uneasy tension within the House of Last Things is further amplified by the skilled cinematography of Ken Kelsch. The disquieting character of the house manifests in fleeting shadows, strange angles, and unsettling visuals that heighten the sense of chaos and dread. The sound design, too, is commendable, complementing the eerie visuals with a suspenseful and haunting score that pervades the narrative.

The house functions as a nearly tangible presence throughout the film. Its grand, vintage aesthetic initially evokes a sense of posh tranquillity, slowly devolving into a character of its own, as sinister events and surreal experiences unfold within its walls. Director Michael Bartlett is successful in weaving together the essence of haunted house tropes with psychological thriller elements to create an engaging cinematic tapestry.

House of Last Things masterfully manipulates the progression of everyday life, transforming the ordinary into something infinitely more sinister and complex. By blurring the boundaries between reality and illusion, the film opens up a labyrinth of uncertainty that traps the characters as well as the viewers. As a psychological thriller, the movie leaves a significant impact on the audience's mind, compelling them to navigate through the uncertainties of life and confront their fears.

The film aptly showcases human emotions in the backdrop of suspense and supernatural entities while undertaking a distinctive narrative approach. House of Last Things stands as a memorable, thought-provoking psychological thriller, blending realistic human dilemmas with an eerie, otherworldly atmosphere. With its meticulous storytelling and commendable performances, the film is bound to leave viewers thinking long after the credits roll, marking its place as a capable entry in the psychological thriller genre.