Model House

Model-House
Model House

The home invasion subgenre is a common vehicle for many horror films, The Strangers for instance. Model House has five swimsuit models holed up in a house with a few guards and it’s a complete make over the weekend. Derek Pike, the director, makes his first debut with this movie after directing over 100 music videos in his trademark style. The editing of the film is so vigorously done that it feels like music video editing. They capture pretty images and the music will keep your heart racing. This movie hits closer to home as it tackles the connection between social media personalities and their followers. Although the premise is different, the execution of the movie takes a rather orthodox approach. It does not have the curiosity that makes contemporary slasher films relevant. Throughout, the movie is best described as a compilation of different genres of horror, blending with two weird geometric masks. It is a sound concept with potential but the end product would rather irate the genre’s enthusiasts.

Model House resorts to the home invasion theme where two invaders manage to break into the model house and hold hostage five girls for ransom. Instead of robbing them, however, the invaders make them post fake donation links to all of their pages. The invaders have a demand of $1 million and as they presumed, the girl’s fans come out for support. As matters get more complicated, the girls realize their life is going to be on the line and so they decide to fight back.

The narrative lags consistently when it comes to the pacing. Openly speaking, while this is an 85-minute long movie, the narrative drags itself from one already overused horror cliche beat into another while most of the characters are one-note and already too common. And the scares. Well, they are quite weak and even though the film offers different takes on these ideas, the script never builds such tension that the viewer could feel it. The dialogue is bad and clumsy, even by the standards of horror movies, and does not contribute positively to this dismal effort.

At some points, the stakes are really high, but the drama seems to be fabricated. At no time the characters are at the level of the generic final girls. The film is a montage of the greatest and the most annoying sequences from slasher films. Viewers looking for social critique or at least several subtle plot turns are bound to be let down. Model House is better still seen as an extended music video, which is a great mode to explore, but the lack of direction in the story makes the end product rather crude.

This feature is more clockwork arrival than one with blood and guts saving the day. It does not engage the primary audience nearly all of the time and misses one crucial element that is essential to such films. There isn’t any chase, but this film employs a soft touch of psychological terror as opposed to the slaughter and riotous excitement methods. The outcomes are engaging, but the film never allows the principal actors to step outside the boundaries of typical two-dimensional characters.

Positively, however, fans of the genre will get to see Scout Taylor-Compton, who is the main star of the movie. In a role against type, one of the film’s intruders is portrayed by her. She is not one of the psychopaths most of these types of films tend to introduce as the culprits, but she does invoke a sense of threat. Because for the most part, she is behind a mask, it makes her performance even more interesting. In spite of the mask’s constraints and her diminutive frame, she is very disquieting in the role. She also adds a twitchy level of intricacy that those who are fans of this genre will appreciate.

Taylor-Compton is the best thing about this film, that is a fact. Rather unusually for such a movie, here the focus is on the headliners rather than Taylor-Compton and other models. Chris Zylka, who might be known from The Amazing Spider-Man, plays the second intruder who’s again a greyed composite of sorts along with Taylor-Compton. In the same way with Taylor-Compton, there is greater interest in the development and the characters of the intruders than the plot monkey models of the film.

Maybe I’m putting modern horror films on too high of a pedestal. Model House serves as a space designed for a horror movie. Sure, there are a few memorable kills as well as some entertaining performances from the villains, but the impression is one of cliches rather than originality.

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