Crime and Survival – Weekend
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Matthias Höhne’s “House of Bone,” a story balancing on the edge of thriller and horror about secrets and deceptions in the Scottish wilderness, is being released.
What kind of house is silent, immersed in darkness? In it, far from noisy highways, in the Scottish wilderness live, not particularly burdened with communication with the outside world, who survived a once terrible car accident, Mom (Joely Richardson), wheelchair-bound Pa (Roger Adjogbe) and daughter Maisie (Sadie Soverall). One day, during a severe hurricane, two brothers, Jack (Neil Linpow; also the screenwriter) and Matthew (Harry Cadby), who, according to them, were involved in an accident on a country road, come knocking on their door. They actually got into an accident, but it quickly becomes clear that Jack and Matthew are not hapless outsiders, similar to the heroes of Steinbeck’s “Of Mice and Men,” but dangerous wanted criminals. However, they themselves will have to think seriously when it becomes clear: the closets in the house that sheltered them are filled with more than just skeletons. And what is happening on the screen in front of the silent audience gracefully transforms from the venerable subgenre of “home invasion” into the no less deserved “survival”.
It can be said with all responsibility that in the case of director, screenwriter and producer Matthias Höhne, we are dealing with a split personality, known since the time of Stevenson’s masterpiece, albeit only a creative one. If Hoehne-Jekyll has been directing Cannes Lions-winning commercials and video clips ranging from Fatboy Slim to Sabaton since the beginning of the millennium, in 2016, based on a script by Luc Besson, he directed the teen fantasy “Warriors Gate” in China with Dave Bautista, and is currently working Already working on the second season of the teenage fantasy “Theodosia” without Dave Bautista, Hoehne-Hyde at the same time became a very significant figure in the world of horror cinema. His filmed penny debut Beyond the Rave (2008), a hybrid of Trainspotting and From Dusk Till Dawn, was nevertheless the first film released by the legendary Hammer studio since the late ’70s. In his second horror feature, Cockneys vs. Zombies (2012), which won audience awards in San Sebastian and Toronto, Hoehne combined Lock, Stock and Two Smoking Barrels with Dawn of the Dead – and it can be called the best British horror comedy with with a much greater reason for this than the one that stuck in my teeth and wherever possible “Shaun of the Dead.” It seems that nothing prevented the director from continuing in the same spirit, but Höhne acted bravely and unexpectedly, changing not only the genre (strictly speaking, “House of Bone” is not so much a horror as a thriller, albeit at times extremely brutal), but also locations (with London suburbs to the North Scottish Highlands), and most importantly – the characters: if previously they were associated with the types of Irvine Welsh, now the heroes of Shirley Jackson and Robert Bloch come to mind. Therefore, there is certainly something and someone to play here: all the participants in this small-figured composition performed almost impeccably. And yet, the first among equals should be considered Joely Richardson, clearly reminiscent of Rebecca De Mornay in the remake of Mother’s Day, and Roger Adjogbe, who played the motionless Pa (for obvious reasons, he used a very limited set of acting techniques, but nevertheless played superbly, yes in addition, the actor’s appearance is very similar to the two main stars of African-American horror – Duane Jones and Tony Todd, which in this case turns out to be very useful).
House of Bone is both suspenseful and entertaining to watch. But it will be even more interesting to find out which direction its author will follow when he once again tries on Hyde’s mask. So it will now remain in the spaces of traumatic phobias, the darkness of someone else’s soul and houses with a dark history – in a fruitful field, but successfully developed by many? Or will he still return to his roots and build something on material that is more familiar to him, but absolutely exclusive to the genre? By setting, say, a visiting American werewolf against London football hooligans.
In theaters from November 23
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