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House At The End Of The Street
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DIRECTORS OF "House At The End Of The Street"
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HEROES OF "House At The End Of The Street"
House At The End Of The Street
CRITICS OF "House At The End Of The Street"
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Reel Film Reviews
Resource

July 16, 2014

An uncommonly tedious effort...
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Georgia Straight
Resource

February 15, 2013

A clunky, run-of-the-mill horror flick written by the same guy who penned last year's similarly themed disappointment, Dream House.
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Cinema Crazed
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June 20, 2013

Ninety minutes of melodrama for ten minutes of a very derivative surprise ending.
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Critic's Notebook
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October 07, 2015

"House at the End of the Street" is so thoroughly unpredictable that it will even have you actively rooting for the villain and against the victims at one point.
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Quickflix
Resource

November 25, 2013

It's made for - and presumably by - people who haven't ever seen a horror movie. What's even more frustrating is that its inherent ineptitude doesn't ever become entertaining in a "this is hilariously horrible" fashion.
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TheWrap
Resource

September 21, 2012

There are one or two clever plot twists that are subsequently followed up by a cavalcade of ridiculous, credibility-stretching ones.
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TheHorrorShow
Resource

August 26, 2015

A "sleepover night" horror movie made for young people who haven't seen many good horror movies.
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Time Out
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September 25, 2012

Shockingly uneventful, this horror film marks time until dropping its big, dumb reveal.
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Los Angeles Times
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September 21, 2012

What could be so bad about a new Jennifer Lawrence movie that its distributor opts to keep it away from critics and release it with minimal ad support? Please, allow "House at the End of the Street" to answer that question.
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Entertainment Weekly
Resource

September 21, 2012

This is the rare horror film so bad you almost wish it had turned into a good old connect-the-gory-dots slasher movie. The only mystery at work is how Lawrence's agent ever let her sign on.
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Village Voice
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September 22, 2012

Tonderai steers the story cleanly around its queasy hairpin turns, perversely toying with one of pop cinema's most cherished clichés: the audience's inculcated desire to side with the underdog.
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New York Times

September 22, 2012

A choppily edited, poorly timed mess with little continuity, overloaded with aural shocks in a desperate attempt to compensate for its minimal suspense.
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