Directors: Matt Angel and Suzanne Coote
Writers: Matt Angel and Suzanne Coote
Release Date: 19th January 2018
Hot Rating: 💥
Since early 2017, Netflix has been releasing original content, providing subscribers with accessible and often popular films and programmes. In their debut film, Matt Angel and Suzanne Coote counteract this reputation, producing the worst film I have seen so far this year. I became sure of this accolade just over halfway through my viewing, where the loopholes in the narrative of mother-son duo Logan (Dylan Minette) and Naomi Wallace (Piercey Dalton) pervade any concerns they have of a stranger in the 'open house' they are currently inhabiting. In fear of any interesting results, Angel and Coote fail to mature these concerns beyond relying upon seemingly irrelevant supporting roles. These attempts to elicit some form of a conclusion are unsuccessful, instead resulting in a finale that is frustratingly evasive. When executed correctly, ambiguity can provoke meaningful reflections in audiences, a feature that 'The Open House' significantly misjudges in its pointless exercise.
Writers: Matt Angel and Suzanne Coote
Release Date: 19th January 2018
Hot Rating: 💥
Since early 2017, Netflix has been releasing original content, providing subscribers with accessible and often popular films and programmes. In their debut film, Matt Angel and Suzanne Coote counteract this reputation, producing the worst film I have seen so far this year. I became sure of this accolade just over halfway through my viewing, where the loopholes in the narrative of mother-son duo Logan (Dylan Minette) and Naomi Wallace (Piercey Dalton) pervade any concerns they have of a stranger in the 'open house' they are currently inhabiting. In fear of any interesting results, Angel and Coote fail to mature these concerns beyond relying upon seemingly irrelevant supporting roles. These attempts to elicit some form of a conclusion are unsuccessful, instead resulting in a finale that is frustratingly evasive. When executed correctly, ambiguity can provoke meaningful reflections in audiences, a feature that 'The Open House' significantly misjudges in its pointless exercise.
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