There’s no shortage of adaptations from the works of cosmic horror writer HP Lovecraft, whether it’s the delightfully subversive horror-drama series Lovecraft Countryor Nicolas Cage-star of Richard Stanley beautifully rendered, color out of space. However, Bobby Easley HP Lovecraft Witch Accommodation doesn’t fall into the territory of objectively good and nuanced adaptations, as everything from the way the basic narrative unfolds to the way cosmic horror tropes are used comes across as lazy and uninspired.
HP Lovecraft’s Witch’s House opens with grad student Alice (Portia Chellelynn) forced to move into a mysterious house as a tenant after she feels unsafe due to her abusive ex-boyfriend’s threat to hurt her . While Alice’s predicament is serious, and her decision to move into a shabby, moldy attic makes sense in this context, the film doesn’t explain why she couldn’t just say with her friend Kelly (Erin Trimble ), who graciously offers to do so several times. Nonetheless, Alice moves into this new home, despite encountering characters who are clearly passive-aggressively hostile to her, deciding she feels safer in a room that doesn’t quite feel right.
Throughout the story, we learn that the house has a history of ritual killings, and that a former servant, Keziah (Andrea Collins), has been accused of kidnapping children and then being burned at the stake for that very reason. There seems to be a disturbing connection between this past event and more missing children in the present day, however, this aspect of the plot is developed in the most uninspired way.
Alice is introduced as a student of sacred geometry, in which her thesis explores the possibility of architectural structures being a gateway to other fields. While researching, Alice stumbles upon an Enochian altar cloth in the attic floor, which she unceremoniously tears up without understanding the latent power of such a magically charged object. Over time, Alice has had vivid dreams about child sacrifice and occult rituals, and these dreams bleed into her waking reality, but that doesn’t stop Alice from exercising a basic level of discernment when she goes about his daily business.
HP Lovecraft’s Witch House fails to grasp the core appeal of Lovecraftian themes, resulting in a film with cliched, hastily executed tropes.
Another glaring problem with HP Lovecraft’s Witch’s House is the way he confuses sorcery with occult studies, throwing different forms of magic together without taking the time to delve into the esoteric aspects of the books, concepts, and symbols. A key example is the use of film from the Witch of Agnesia mathematical concept that can be applied to sacred geometry, which Alice somehow relates to the ritual opening of doors, which has no academic basis, nor justified in the context of hanging disbelief.
Although the film is clearly limited by budget, certain artistic choices, such as the deliberate depiction of the protagonist in her underwear almost all the time during the ritual sequences, turn out to be fetishistic, adding a layer of absurdity that goes to the against the film. On the performance front, the dialogue is unnatural and stilted, with the exception of Keziah’s scenes, which manage to portray a more or less convincing villainy, though this is also undermined by the ending.
HP Lovecraft’s Witch’s House is currently available on demand and on DVD, and the film was released on July 5, 2022.
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