Good , But It Is Overrated By Some

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

At first sight, The Legend of Hell House, is a flabby knock-off of the much, much better The Haunting (of Hill House), so much so that you would assume that the lawyers would be locked and loaded for battle.The story is murky, the actors are given thankless things to do and say, and the explanation for the pervo-gory ickiness of the "Mount Everest of haunted houses" is just not strong enough.But danged if the movie doesn't keep you watching!It may have been the weird synthesized background music and/or the disorienting lack of continuity between the time stamps on screen and the light or darkness outside and/or the actually sympathetic characters played by the two female leads, but I got some decent thrill/chills from this fairly atmospheric and jittery little horror flick.Made a decade after the brilliant Robert Wise production of The Haunting, the movie earns what would now be a PG-13 from the gore, the flashes of skin, and the general yick that saturates the English mansion in question. Its denouement is fairly pedestrian, but the viewer has some reason to be forgiving. You actually feel sad when the sexy-as-a-pop-tart Pamela Franklin gets crushed under a giant crucifix, and Gail Hunnicutt, all funky facial angles and swollen eyes, who loves her sexually disinterested scientist husband, comes under the influence of the nasty ol' dude slithering around the afterlife in the mansion, and acts as if anything hard and cylindrical will do just fine. If this were an R, I swear she would have started dry-humping one of the columns of the old house.The Legend of Hill House is a moderately competent psychological night-bumper, and I figure, if you see it advertised on FXM, well, why not? There's actual brain-like substance here.

This was everything I could have wanted in a 1970's haunted house movie. Firstly, the movie jumps IMMEDIATELY into Barrett (played by Clive Revill) being asked to investigate the house — the backstory is all explained after they've arrived. The atmosphere throughout the entire movie is just SO good. The thick fog when they arrive at the house, the music, the use of light and shadows, the deliciousness of 70's era film, even the house itself… all perfect. This movie doesn't rely on special effects or even gore to make itself known, which I think is impressive since it definitely delivers. The ghostly shadow in the shower comes to mind right away, as well as Florence's (played by Pamela Franklin) first sitting when she channels a desperately violent spirit who bellows "GET OUT OR I'LL KILL YOU ALL". Shuddering just thinking about it.Ultimately I'm always a huge fan of the whole science vs. paranormal debate and this movie is 100% centered around that. Barrett is dismissive and skeptical of any thought of spirits or hauntings, despite the evidence being all around him, and is convinced that he can rid the energy of the house with his devices… but the look of genuine fear, superbly acted, when he realizes he has failed, and says "I do not accept this!" is just awesome to behold.But the real star, in my opinion, is Ben (played by Roddy McDowall), the physical medium and the sole survivor of a previous stay at the house. He is just fantastic the whole way through, but his battle with Belasco at the end is amazing — he is wild and desperate and taunting and the energy around the whole scene is crazy.Solid movie all around — a classic for a reason!

If you see this after you see "The Haunting" (1963), you'll recognize this to be a somewhat flaky adaptation of the original brilliant work. While the photography is stunning, everything else falls short. Character development is deplorable, the plot is at times overdressed and at others simplified to the point of stupidity, and the scares are by modern AND classic standards, not that scary.Dr. Barrett and Ann Barrett, the two lead investigators are uninteresting characters, offering little to no wisdom or insight and deliver dull insipid performances much like their supposed sex life in the movie. By the end I sympathized with Tanner for throwing that paranormal tantrum at Dr. Barrett, and Tanner, well she's a whole new class of two-dimensional. She remains entrenched in her own convictions while making one stupid decision after another, to the point where you actually want to believe she's on to something to allow the movie more depth than it actually has. Fischer is the only interesting one of the bunch, and that's because he remains aloof and observant throughout the movie. By the end he does deliver a commendable performance, but the plot by then has devolved into something absurd. Still he makes the best of what he is left to work with.There are no explanations to the REAL questions. Who is the corpse tied in the dungeon, what bearing does Bolesco's colorful crimes have on the story, what in Tanner's history enables her to fall in love with a spirit, why was Dr Barrett attacked in the living room when all spirit influence had been removed from there, and why does the knowledge of Bolesco's height complex allow them to find him?IF you want to experience the REAL horrors of Hell House, watch the Haunting.

The Emeric Belasco mansion, otherwise known as Hell House, has proved to be a hotbed of paranormal activity. In fact, it's referred to as "the Mount Everest of haunted houses." Into this domain come a team, hired by the aged Rudolph Deutsch (Roland Culver). They consist of scientist Dr. Barrett (Clive Revill), mental medium Florence Tanner (Pamela Franklin), Dr. Barretts' tag along wife Ann (Gayle Hunnicutt), and physical medium Benjamin Franklin Fischer (Roddy McDowall), the only person to survive previous investigations of Hell House.Richard Matheson scripted, from his own novel "Hell House". He gives us a classic Old Dark House type of horror film with a bit of a difference. In this instance, it is fascinating to see whatever practical methods there may be for dealing with spirits. Also, the air in this story is thick with sexual tension. As Ann comes under the influence of the mansion, she becomes markedly seductive. The pacing is just right, never hurrying but not dawdling either. The atmosphere is perfect, with a nice low key music score credited to Delia Derbyshire and Brian Hodgson. There is a bit of gore, especially as poor Florence is violently victimized by spiritual forces more than once, but never a whole lot of it. Mathesons' script is intelligent and provocative, and those people unfamiliar with the novel won't be guessing where things are going before they're supposed to.There's an absolute minimum of characters here, and the actors all do wonderful jobs. Top billed Franklin is appealing and impassioned, Revill is solid as a man who's not that much of a believer, Hunnicutt is equal parts alluring and sympathetic, and McDowall is superb as the man who's given the task of purveying the necessary exposition. It's neat to watch him as he comes to his climactic realizations. Michael Gough has a quick, uncredited cameo at the conclusion."The Legend of Hell House" is very well done and is worthy of ones' attention, whether they see it for the first time or rediscover it.Eight out of 10.