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In Alfred Hitchcock’s Psycho (1960), Marion Crane appears up on the space looming within the evening sky at the back of the Bates Motel, its hybrid New England/Victorian taste oddly misplaced. We’re left with the abnormal, inconceivable feeling of a face made up of home windows for eyes and a door for a mouth.
That uncanny sense of a construction being unconsciously anthropomorphised turned into a well-used horror trope, from the New England clapboard house of The Amityville Horror (1979) and at scale in Kubrick’s The Shining (1980), the huge Forget Lodge’s lit home windows strongly suggesting a brooding, malevolent massive taking a look again on the digital camera.
A part of an early 2000s wave of horror-tinged animated circle of relatives movies, Monster Space (2006) takes that eerie suspicion that properties are taking a look again at us and makes it brilliantly literal. The home in point of fact is taking a look again at DJ and Chowder, two friends who imagine they see sinister goings-on around the boulevard in the home of cranky, gap-toothed Mr Nebbercracker (Steve Buscemi).
Because the movie’s plot unfolds, we see the shutters of the highest home windows open and close like eyelids, sharpened slats turn up and transform enamel within the mouth of the entrance doorways and the clapboard external creak and contort into frowns and sneers.
From the outlet shot that follows an orange autumn leaf because it floats to the bottom, Monster Space oozes Halloween…
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Author : bq3anews
Publish date : 2025-10-31 22:13:00
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