“Housebound” features all the hallmarks of a classic horror film: spine-chilling sound effects, a possessed doll, an enormous, tilting statue of Jesus, enough jump scares for multiple heart attacks, and a nightmare house with a haunting history. In his feature debut, new Zealander Gerard Johnstone (who also wrote the script) successfully contemplates all of the horror cliches and seems to enjoy setting up nearly unbearable suspense. “Housebound,” however, is unique because of its almost screwball comedy satirical tone and abundant moments of wit. It is weird blend. It works. Johnstone’s humor, drawn from fresh absurdity, and balancing horror with absurdity manages to keep the viewer entertained, which is one of his key victories. “Housebound” is a bit too long, with a couple explanatory monologues that try too hard to tie up all the loose ends, but other than that, it is a remarkably assured and highly satisfying debut.
Kylie’s (Morgana O’Reilly) life hasn’t exactly started off on the right track. In the first scene of the show, she can be seen using a sledgehammer to break an ATM. Afterward, she places a small explosive in the ATM followed by jumping into her car whilst ordering, ‘get in the car’, to a group of police officers, which causes her to get stuck on a speed bump. As she is stuck, she also begins screaming like an animal. Because of her past experiences at rehab facilities, Kylie is sentenced to live under house arrest with her mother for 8 months. In this period, she is required to wear an ankle bracelet linked to her home’s lawn. She is then driven through a picturesque countryside to what seems like her childhood home. As she approaches the house, her feeling hate and regret grow stronger. The feeling of judgment from the house’s windows does not help either. Seeing as she had wanted to leave for so long, now she feels trapped.
Kylie’s character is done brilliantly by Rima Te Wiata. Given the context, it is understandable she plays a character who seems to never stop talking about irrelevant subjects. However, she does manage to make a few attempts of looking at the brighter side, after all, she is still incredibly resentful.
For instance, when her mother cheerfully helps sullen Kylie get fitted with the ankle monitor, she says, “Aren’t you lucky, Kylie, having all that high-technology on your foot?” As a result of being home bound, Kylie spends her time at home sitting on the couch, watching television, eating everything in the kitchen. She literally does nothing to clean up after her meals. Mother tiptoes into the room wondering, almost sobbing, pleading, “Can I please have the television for one hour to watch my show?”
Kylie’s mother has always been convinced that they had a ghost in the house because of mysterious scratches around the house and calls in to paranormal radio shows to discuss the “ghost” and her “sleepless nights” with a practitioner. Initially, Kylie makes fun of her mom for thinking this way, but eventually becomes convinced that yes, something very, very strange is going on in the house. They find an ally in the security guard assigned to her ankle monitor, a man named Amos (Glen-Paul Waru) who also happens to be a ghost hunter. Kylie’s court-ordered sessions with the condescending and infantilizing counselor “get tough on dysfunctional families” (Cameron Rhodes) don’t go well. Kylie and Amos launch an outward investigation, beginning with her bafflingly reserved next door neighbor with the wild unkept beard (Mick Innes).
Some of the scariest sequences in the film revolve around Kylie doing things, she knows, she shouldn’t do, like sneak around in places.
She has mastered very well the art of stealing. Through the binoculars, Amos is forced to watch from the sidelines. O’Reilly brings the classic angry misfit to life, the antisocial contemptuous girl towards her mum, until events begin to come together to bond them. Kylie’s problem is much worse given that, even if she tried to run from the house to save herself, her ankle monitor going off would mean she is taken back to where she is doomed.
Bucknell’s production design choices were impressive, and spooky, too. The house appears cluttered with decorations that serve no purpose, a remnant from centuries of hoarding. Simon Riera is the talented cinematographer. He surrenders the screen to dark shadows and off-kilter angles, filling the house with dim light which makes it appear like a never ending, haunting puzzle. Without being able to regain one’s bearing, the house takes on a spirit of its own. You can’t ever understand the house’s layout. The house seems to have a personality of its own.
There are a number of unique sequences, one with a talking teddy bear and the other featuring a group brawl where people attack each other with whatever they can grab nearest: an eggbeater, cheesegrater, laundry basket.
A good chuckle and inventive ideas burst out from these scenes. Everything is rational, yet completely ridiculous at the same time. Johnstone clearly shows control through his vision, yet in the fight scene, he exposes his unique signature. It is simultaneously terrifying and organically funny. Achieving this balance is extremely difficult, yet “Housebound” effortlessly maintains it.
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