A fierce piece of farce and sharp as a kitchen knife.
The House of Yes (1997)
Tomatometer
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Reviews Counted:34
Fresh:21
Rotten:13
Average Rating:5.9/10
Runtime: 85 mins
Genre: Dramas
Synopsis: Sweet young Marty brings his ingenuous doughnut-shop waitress girlfriend, Lesly, home to meet his family at their opulent Washington D.C. mansion. But the Turkey Day goings-on are considerably less... Sweet young Marty brings his ingenuous doughnut-shop waitress girlfriend, Lesly, home to meet his family at their opulent Washington D.C. mansion. But the Turkey Day goings-on are considerably less than wholesome, as Lesly discovers the moment she meets Marty's decidedly dysfunctional family, including his asylum-reject twin sister, Jackie-O, whose hobbies include incest and reenacting the JFK assassination with prop blood and her brother as victim. Though a smash at the predominantly independent Sundance Film Festival, this effort was bankrolled by Spelling's sitcom magnate dad, Aaron. Based on the eponymous stage play by Wendy MacLeod. [More]
Starring: Parker Posey, Josh Hamilton, Tori Spelling, Freddie Prinze
Starring: Parker Posey, Josh Hamilton, Tori Spelling, Freddie Prinze, Geneviève Bujold, Rachael Leigh Cook, David Love
Director: Mark Waters
Director: Mark Waters
Screenwriter: Mark Waters
Story: Wendy MacLeod
Producer: Beau Flynn, Stefan Simchowitz, Rolfe Kent
Reviews for The House of Yes
There's something quite lethal about Parker Posey in pearls, and for that inspiration director Mark Waters deserves our gratitude.
Bujold has the frazzled hauteur of an aging, neglected star, and Spelling is nicely glazed, studiously artless. But the film is keyed to Posey's performance: perfectly brittle, faultlessly false.
Bujold is as good as ever, but the real surprise here is Spelling: Slack-jawed and dewy-eyed, lids forever at half-mast, she's perfectly cast as a lamb among wolves, and her naivete is strangely affecting.
[Waters] manages to open up the text while maintaining its perilous mix of arch wit, pathos and suspense.
Offers more than its share of tartly biting zingers, dropped to maximum comic effect by the letter-perfect Posey.
So light it almost floats away were it not somewhat anchored by the performances of Posey, Bujold and Spelling.
Can be entertaining at times, but the question about this film's long-time impact on viewers' memory is going to be a definitive "no."
Easy to forget if not for the presence of the wonderful Parker Posey.
This is a definitive Posey performance: wide-eyed, smiling and ultrafeminine, but plastic and cold as a store mannequin.
Waters takes pains never to caricature the family members. Even Jackie-O, who could have easily become the stuff of high camp, is reigned in by Posey's performance, which is one of her best; she manages to be arch, touching and acerbic all at once.
The story seems too intent on spreading quirkiness on with a spatula to be really engaging; you can't picture these people as anything other than movie characters.
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