The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

I gave this film a 9 out of 10, because it was exactly what I expected it to be.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

I'm always on the look out for obscure and seldom-seen horror films and this one fits the bill nicely because it's so unusual. An unorthodox addition to the overworked 'haunted house' genre, the film's setting is Japan and the ghosts – instead of being the more typical poltergeists or what have you – are three transparent Japanese people, who run around in period gear (an idea copied by Peter Jackson for THE FRIGHTENERS) and cause spooky things to happen. Despite a high level of predictability, this film is generally above average, thanks to some imaginative moments and surprising scenes of action and violence.The story goes that a happily married couple, Ted and Laura, move into a Japanese home dirt cheap because it's haunted. They learn of a terrible massacre occurring more than a century previously and are soon haunted by faces appearing in soup, things flying off walls, and Japanese chanting. One interesting aspect of the film is that events literally relive themselves as the ghosts possess various people and cause them to do unpleasant things. Laura eventually ends up having an affair with friend Alex Curtis and events lead towards a predictable – but nonetheless pretty mean-spirited – conclusion in which history relives itself.The cast is familiar and helps add to the experience. Edward Albert may not be particularly exciting as the leading man but he does his job ably and has some good moments. Susan George gets to alternate between being sexy (stripping off for a number of sex scenes) and petrified depending on whether her character is possessed. But best of all is the appearance of cult B-movie man Doug McClure, here re-teaming with British director Kevin Connor for what would be their final pairing. Sadly Doug doesn't have a major role in the proceedings, but he does get to take part in a fantastic fight at the film's climax which is just like the old days and very exciting.The film goes through all the usual motions – possessions, exorcisms, gore – but portrays events in a slightly off-kilter way to make them seem more interesting. There's a scene where some giant crabs (so big you can see the wires) attack the young girl which is very well done and actually had me creeped out – despite the wires these crabs really do look menacing so kudos to the effects guys. There are some pretty violent moments, including a hilariously cheesy decapitation, and the film gets my recommendation for following through to the expected finale without offering any Spielberg touches or happy endings. Although it isn't great, THE HOUSE WHERE EVIL DWELLS does make you feel involved with the characters in hand as well as providing the necessary thrills and chills. So it gets my thumbs up.

The story line alone for this flick makes it automatically pointless to watch as it tends to sound a lot like the totally not worth watching movie "The Grudge". I wonder if the story/plot similarity between the two films can be considered as related, "The House Where Evil Dwells" (original), "The Grudge" (a remake"?; "The Grudge" is supposed to be a remake of the Japanese film "Ju-on", so maybe not). Maybe "The House Where Evil Dwells" also inspired Ju-on? From this perspective a ghost story, is a ghost story, is a ghost story.....According to the general consensus in the reviews of this film it would make no sense to watch it.

This can be one of the most enjoyable movies ever if you don't take it seriously. It is a bit dated and the effects are lame, but it is so enjoyable. There are giant crabs that attack a girl. oh, and the crabs sing Japanese. It is amazingly bad. And the ending, which has been telegraphed throughout the entire film is hideously awesome. Predictable, but seeing the final fight will leave you rolling in your seat. Don't even give this film a chance and you will love it. Susan George is fun to watch and yes, she does appear naked. Her daughter isn't quite worth putting up with, but she does get attacked by giant crabs. They are the size of large cats. This is a 2, but I love it. As a movie, my God, but for entertainment, I give it a 7. Did I mention there are giant crabs?

Just plain awful haunted house garbage has visiting American family dealing with possession in a Japanese teahouse.A disgruntled Samurai hacks up his adulterous wife and her lover with his sword after coming home to them in sexual embrace. Their bad karma keeps them in a ghostly form of limbo so they try to pit American husband Ted(Edward Albert), British wife Laura(Susan George)and their US American Ambassader pal Alex(Doug McClure)into an ugly re-staging of the events that has imprisoned them hoping to release the chains that bind them. The Japanese ghosts possess the three anytime they wish, often even causing mischief such as disrupting the water flow from the faucet, tossing a Noh mask from the wall, appearing in a bowl of soup, or becoming visible in the form of giant crabs! There's one hilarious scene where giant crabs chase Ted and Laura's daughter Amy(Amy Barrett)up a tree until she falls. Oh, and the scene where one of the ghosts causes Ted to splash a bowl of soup in Amy's face when she won't drink, is priceless. The final scene where possession causes Ted and Alex to duel in a sword fight and martial arts has to be seen to be believed. I especially giggled at the scene where Ted is chasing the female ghost around the room as she vanishes when he draws near..it's quite a cartoonish scene. Oh, and the female ghost somehow almost drowns Ted underwater! There's also a chuckle-inducing sequence where a monk comes to their home to exorcise the ghosts from it..the monk actually chases them from their abode!I don't know how the cast could keep a straight face in such mindless drivel. Embarrassing to ruin such exotic locations..the setting is indeed this film's only real benefit. George does shed her clothes..too bad that's the only positive thing she brings to this horrible exercise. The opening scene which yields the yuk-yuk premise is actually quite a stunning way to open a film..just too bad it opens this one.