Gabriel Carrer’s psychological thriller “In The House Of Flies” is a slow-burn nightmare set in 1988, with the abduction of a young couple at the end of their fun night out. The film stars Lindsay Smith, Ryan Kotack, and Henry Rollins. “In The House Of Flies” blends classic Americana with elements of visceral horror and emotional melodrama.
The story is a strong, well thought out situation that builds on a steady, tense chain of events framed by a claustrophobic, and hopeless setting. The acting is pretty tight, with most of the film’s thrills coming from the situational reaction of the captive couple at the mercy of an unknown psychopath. The concept is pretty customary in modern horror with characters forced to play out the twisted games of a nightmarish persona. The overall effect of the drama, meant to cause chills and tension becomes slightly tedious over the course of the film, but the cast manages to create an uncomfortable, emotional atmosphere which allowed me to build a connection, and feel invested.
The special effects are subdued, limited practical effects that offer a mix of gore, and grit. The majority of “In The House Of Flies” effectiveness as a horror film comes from the cramped setting, creepy props, insects, and macabre atmosphere. These things are 90 percent of the films horror element, sometimes giving us chilly realness, other times remaining inert properties. The sound effects do offer up an extra dose of despair, which helps to create that suspenseful unease effect. I had no real complaints on that aspect of this film.
Overall “In The House Of Flies” fails to really be horrific, often the film becomes a bit boring. The slow paces, mild nature did little to thrill me. The drama, writing, and effects were pretty stellar for an indie micro-budget film like this. Carrer’s shows real talent with “In The House Of Flies” but the lack of action, and real energy keeps the film from really excelling considering the concept. The ending is a bit underwhelming, considering the cool vibe created by the opening scenes. It would have been nice if Carrer would have finished with that level of energy considering how sedate the majority of the film tends to be.