Let's be realistic.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

One of the best movies of the year! Incredible from the beginning to the end.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

It wasn't completely awful. The worst scene of all was the flashback with the priest and family around the table. Some of the worst acting and dialogue I've ever heard. It had some good moments so I don't feel like I wasted the whole time.

What I loved about the film is that they don't waste any time by jumping right into the action. It is really truly freaky in the beginning as we learn there is something sinister going on. Sadly, though, after a promising start, the film dwindles to loads and loads of credibility issues and 'been there done that' territory. They are trying just too hard to give every character a back story, as the demon feeds on their darkest secrets and fears. The reveal through the kidnapped girl's video diary is not believable at all and rather silly, actually. The way the gang immediately finds what is relevant to the story is just not credible. The film completely looses momentum towards the end as suspense makes way for reveal upon reveal. Some good visuals, though, and I did enjoy the satisfying ending.

Katherine Hudson (Carlyn Burchell) has bad dreams. Her family has money, daddy has diamonds. We see some cult symbols on a wall, similar to the ones in the Necronomicon that create portals to other worlds that like a bad pen, only works half the time. That is all the character build up. We don't find out more until about 45 minutes into the film. If you read the production by-line, you know this is going to be something like "Ransom of Red Chief" as written by H.P. Lovecraft.Katherine Hudson is "Carrie" creepy. I loved how the film started out and then the discovery phase was also great. The end left something to be desired as an undeveloped character suddenly appeared. Now I have a pretty good idea who that was supposed to be (Nicolas Cage is my second guess) by why? The neck crick (or is it creek?) should only be used once in a film. After that it is silly. Sometimes less is more. Thank you for not using a voice distorter. I really liked the long tongues that looked inspired by items in an Adult Book Store. Too bad most were shot at that awkward side angle, you know the one we used as kids when we were pretend sword swallowers..."Daddy look at this?" What I don't understand is how someone with uber-human strength and telekinetic powers can get chained up so often and why the would stay chained. Is 304L Austenitic Stainless Steel the new kryptonite for demons? The picture scene, while predictable, was classic horror.BTW, the global point opposite the Vatican is in the South Pacific Ocean.Guide: F-word. No sex or nudity.

The "criminals who become victims" concept has always been popular in horror cinema (Don't Breathe is a recent example I liked), and that might be because it adds an unexpected moral ambiguity which questions our perception regarding "good" and "evil" ones. And, on a more visceral sense, it creates an "instantaneous karma" sensation in which the criminals receive their punishment... even though we would like to see them escape sometimes). From a House on Willow Street follows that formula, but its main problem is that co-screenwriter Alaistar Orr (who is also the director), Jonathan Jordaan (sic) and Catherine Blackman reveal the kidnapped girl's secret too quickly, decreasing the tension and taking us through a prefabricated route which doesn't adequately exploit the "surprise factor". Besides, it's too obvious who the default "hero" (heroine, in this case) will be from the beginning; fortunately, that character is played by Sharni Vinson, whose work in horror cinema during the last 5 years (Bait, You're Next and Patrick: Evil Awakens) has made her become a versatile "scream queen" with an adequate emotional deepness. Vinson's scenic presence and credible reactions keep us moderately entertained despite the questionable narrative decisions and weak coincidences in which her character is involved. I will probably end up forgetting From a House on Willow Street as soon as I finish writing this review, but it didn't bore me, and I can give it a slight recommendation, mainly due to the gore and the presence of an actress whose affinity for the horror genre can rescue mediocre movies, such as... this one. We are still on time to redeem the "scream queen" term, and Vinson is one of the actresses capable of achieving it (other good alternatives: Mary Elizabeth Winstead and Anya Taylor-Joy).