I had been wanting to return to do reviews but honestly unsure if I should repeat a performance like that from Basic Instinct, however with encouragement from Baron who just told me to explore the genre of films that I enjoy, I had a close girlfriend of mine randomly choose for me something from the erotic-horror-thriller subgenre and this is what I got. After her selection, which is clearly more of a more I will never, ever do that again, it’s like a game of truth or dare could sexual fun or as dull as hour church service

Therefore, the basics we have director David Marsh who wrote the screenplay with Svetlana Mischoff who used the most overdone 5-words in the English language for storytelling “a dark and stormy night” while cinematography at times successfully keeping the camera floating like a ghost over the nakedness of some very attractive ladies and just one glimpse of a man’s rock-hard buns of steel. The film took 7-years to reach the level of distribution in 2000.

Melissa Moore

Real estate agent Dottie (Melissa Anne Moore (Soulmates [1992])) is charged to show this haunted mansion to actress Brianna (Julie Hughes) who is seeking a vacation retreat to rent. Unbeknownst to Dottie, the other two residents live hidden away in the basement Missy (Kathleen Kinmont (Dead of Night [1996])) and her keeper Lorne (Hunt Scarritt). who have their own backstory. Survivors of an orgy massacre Missy we come to lean are haunted by deviant sexualized ghosts. Brianna accidentally signs paperwork in the wrong place thereby forcing Dottie to return to a most unwanted place. Hence it starts the true storyline on a dark and stormy night…

Julie Hughes

Dottie knows the plantation isn’t a good place to be, but she ends up stranded there anyway causing her to crash into her car due to the raging storm; after cleaning she joins the others downstairs, Damon prods her about the locked room in the basement but plays naive something he isn’t buying. She retires to her bedroom sitting alone on her bed clad only in a silky robe, she couldn’t help but feel the soft fabric brush against her skin. It was comforting and alluring at the same time, teasing her senses with every gentle caress. her fingers found their way to the belt that held the robe together. Without thinking twice Dottie reached out and lightly brushed her fingertips over her hardened nipples, sending shivers down her spine. She leaned back against the bed, closing her eyes as she indulged – now like all of you will wish the scene was just as half good as I wrote it but nah it’s even quicker and begins an erotic short self-discovery of breasts so unbelievable silly.

Meanwhile the Scooby gang goes in search of the locked room in the basement, breaks in, Damon makes a reference about Michael Crawford and Phantom of the Opera but zooms over the head of others. Suddenly the camera pans as if unseen force reminded me of the Presence [2024] meets Night of the Demons [1988] (original rocks better than the remake from 2009] anyway… it seems to penetrate into Kelly. Meanwhile Dottie stares out a window wearing the skimpy robe again I guess that self-discovery was over she knows she has breasts – whew – she gives her best scream queen impression upon seeing Lorne (Hunt Scarritt) who mentions another woman named Tiffany (Kelly Collins) and how Madman Chad slaughter her while bound topless to bondage cross. Lorne insists Dottie not tell of his or Tiffany’s existence, although Missy is alive downstairs hidden in another secret room of the basement and Tiffany is dead, but okay let’s continue with the plot hole. It doesn’t take long until all the occupants start to succumb to being haunted by the spirited deviant slave master.

AT 46 – Lorissa McComas

At 46.33 Kelly begins to recount an explicit erotic dream which has good inflection meaningful tone to entice the viewer more with the words than merely sight. The enticement is very believable, aided by some convincing cinematography. It is a lengthy monologue of detail carnal fantasy that captures everyone’s attention in the room, and the audience. Shortly after she finished Brianne and her shared a bed with stormy weather pounding against the mansion. The fireplace crackled softly, casting flickering shadows across the room. Kelly begins to self-pleasure with soft moans that awakens Brianne, who encourages the exploration of erotic feelings. Their hearts pounding with anticipation a strange stirring within her as she looked at Kelly, soon enough the ladies were engaging softcore eroticism, and yet another forceful being was in the room watching or influencing the arousal. The scene conveys their attraction for each other, not rushed or force but a natural desire. Kelly has look that this isn’t quite right but drives the passion to an undeniable level. Clearly Brianne acted more as the aggressor, embracing the warmth of their bodies from the fire. She wanted nothing more than to explore every inch of this woman who was both alluring and innocent at the same time. In that moment, nothing else mattered, they were two souls connected by an intense desire that transcended everything else. The cuts away from Kelly moaning cries to the next of the pouring rain trapping them all in the confirms of the mansion. The two lovers seem confused about last night’s activities as if spell has been broken and regret fills the bedroom (Kelly’s engaged). As Kelly from one torrid affair, she enters the kitchen to find Damon deck out in leather awaiting her, his attempt to make her erotic dream a reality. Breakfast time, awkward feelings and costume change, Damon enjoys the kitchen with Dottie for a sexual, romantic interlude however before they can end in orgasmic bliss something freaks Dottie who runs off in terror.

Kathleen Kinmont

After an hour into the movie, Dottie finally begins to reveal more secrets about the house, while the crew gathers around the fireplace to hear the tales. She states how her friend and owner’s son Davey told that the ancestor’s spirit still haunts the house and makes the occupants feel sexy. That is not something I ever read about in Cosmo, I would have clipped that article, I wonder if the Playboy mansion was filled with sexy deviant ghosts. A law of the house is to engage freely with sex, lose the inhibitions and let your lusts takeover, right their lovelies I too have so many naughty thoughts. Soon enough Damon begins to discuss sexual topics as a bizarre moment arises, that gave me a sly smile and raised eyebrow of intrigue, involving Damon and Bri and the topic of orgasm through hypnosis. While this occurs, the music’s eerily tone senses that power of slave owner home and the ghost’s cunning power shall penetrate her resistance of this poor woman. In a regression memory the film conjures the hideous horrific topic of sexual abuse with her and brother as youngsters while her mother physically and mentally abused by damning only her to roast in the fires of hell. She encourages herself to have self-fulling enjoyment ‘sort-of’ has her friends watch her obtain a blissful with her fantasy lover – Alex Trebeck. Basically, the house is encouraging individuals to switch partners to have frenzied sexual conquests, and all are submissive to the voracious appetite of ancient Lord Master before bloodlust orgies hunger for sexual possession to commit sordid deeds leading to savagery.

The House

First, my lovelies, the movie poster is a complete farce, it has no connection to owls none appear in the movie real or fake, you do not even get to hear screech or hoot, absolutely no reference point – I find that highly questionable marketing practice. While filmed at The Greenwood Plantation in Louisiana it squandered the location’s charm and history, as Baron says let the location speak here that doesn’t happen it is simply muffled. There is a complete lack of emphasis to push the story forward, likely that is because the script is simply limp and weak, no strength to making convincingly powerful dialogue that the audience can cling to and savor laying it in the hands of the cast for criticism is optional. Scenes occur that feel improvision but lacks a stimulating release of creativity. Melissa Moore and Julie Hughes both provide enticement to enjoy though sadly Kathleen Kinmont’s role has her kept in the basement to suffer her own torments. As for Carroll, he might be considered a lead but is insufferable and often trying to get something going but has no game best for him to be by himself and stroke his wine bottle. A pure side cinematographer Kenneth H. Wiatrak (Evils of the Night [1985]) had a few classic Alfred Hitchcock’s Vertigo [1958] some might say it is unintended however, his body of work has me thinking otherwise.

Vertigo shot

Aside from plenty of nudity and a measurable amount of deviant sexual situations leading to enjoyable fondling and an erotic lesbian scene the passionate arousal is ruined in a separate scene involving a rough heterosexual intercourse, though the men are handsome never see how they measure up for the ladies. Overall, the film delivers a wonderful voyeur stimulation imagery halfway through the movie, while trying to decide if wants supernatural thrills or softcore erotic horror.

TAGLINE: You Can Feel It Watching.

https://imdb.com/title/tt0114554/

IMDb Rating: 3.7/10

Vix Rating: 3.5/10