Following the suicide of his creepy aunt, horror novelist Roger Cobb (William Katt, the Greatest American Hero himself) moves into the mansion previously owned by the deceased. Cobb hopes to not only begin a long overdue memoir about his experiences in Vietnam, but also to locate his missing child Jimmy, who mysteriously vanished in the swimming pool located behind the mansion while Roger and his family had been visiting weeks earlier.

As Cobb settles in to confront his personal demons, he soon discovers that the house has a few hidden monsters of its own- the kind that will tear you to pieces given the chance. Catching glimpses that suggest his son is alive and somewhere in the mansion, Cobb delves deeper and deeper into the supernatural events surrounding him. This isn’t your average haunting kiddies. This is House!

In 1985 director Steve Miner had to his credit the second and third Friday the 13th films and knew that these projects - though loved by genre fans- were not exactly a one way ticket to expanding his horizons behind the camera. Seeking to try something different, Miner became aware of a script written by Ethan Wiley based on an idea from writer/director Fred Dekker (Night of the Creeps). Miner read this bizarre little horror comedy Wiley had cooked up and contacted his long time associate Sean “Friday the 13th” Cunningham. Thus was born one of the definitive 80’s genre films.

Looking back at the slate of sorry sequels bearing its name, anyone who hasn’t seen the film might be tempted to dismiss House as the unfortunate beginning of a really bad ride. That’d be a shame, because this is a smart, funny and energetic little concoction that starts strong and just keeps the viewer interested right up until the final frames.

The casting was inspired. William Katt has always portrayed a believable everyman and he delivers the goods as Cobb, finding just the right balance between playing it straight and knowing when to loosen it up for the laughs. Additionally, George Wendt (Norm from Cheers) lends solid support as a nosy but well meaning next door neighbor who finds himself in over his head, while His Tallness Richard Moll shines in well orchestrated flashback sequences as an unstable soldier.

The films humor comes from the way characters play off of one another and the circumstances that dealing with the supernatural thrusts them into. This isn’t slapstick, it’s actually pretty dry and well-timed (two standouts are the initial meeting between neighbors Wendt and Katt and an encounter with a monstrous woman which ends on an extremely funny note).

The film also does its work as a thriller, with a couple of decent jump scares and an entertaining parade of visual f/x moments. Those visuals are precisely where this movie earns classic status.

In a film blessed with good performances and a solid script, the visual effects of House are the icing on the cake. I’ve always preferred prosthetic and animatronic beasties to CGI monsters and House features them in spades. There are demon witches, severed appendages, unspeakable monsters in closets and slimy tentacles- all rendered lovingly by the geniuses at Dream Quest Images and Backwoods Film. There isn’t really any gore, which makes sense given the approach of the film. This story just wouldn’t work as well were it a splatter fest.

Also on hand is another repeat Miner/Cunningham collaborator: Composer Harry Manfredini, who provides his most varied and entertaining score for this film. Yes, the F13 sting will always be Manfredini’s signature piece, but I think the music in this film is easily his best work.

There are some flaws here or there. Though attractive, the character of Cobb’s ex-wife is merely filler with nothing to add. I also think the film ends somewhat abruptly. When the last scene began, I had expected it to be a little longer than it was. Then the final moments just sort of turned into a freeze frame and before I knew it the credits were rolling (of course, considering how many movies have killed what would be an otherwise terrific ending by having the final scene go on too long, this may not be a bad thing).

In all honesty, I don’t have anything overtly negative to say here. The talent behind the lens set out to do something unique and specific with this movie. Having watched this film repeatedly over the years, I can gleefully acknowledge their success beyond all expectation. House is one of the best horror comedies ever made, it is a necessary addition to the collection of any genre fan and it should not be judged by any of the lackluster sequels.

This review is for the widescreen DVD. Extras include a 12 minute making of doc, a fun commentary track with Miner, Cunningham and Katt and some trailers.

*NOTE*: A pre-Jason Kane Hodder is credited as one of the stunt personnel for this film. Does this guy have a knack for being connected to the cream of the horror crop or what?

Nine out of Ten closets you should never, ever open after midnight.