His House (2020)

Bitel praises the film as a well-told, emotionally intelligent ghost story that gives refugee trauma urgent force. He singles out its shape-shifting hauntings and the way the house embodies the characters’ guilt and dislocation.

Hewitt gives the film a strongly positive verdict, calling it one of the best British horror debuts in years. He particularly praises the performances and the way the supernatural scares serve the characters’ emotional story.

Felperin calls the film a harrowing, bracingly creative debut and an effective horror story. She particularly praises the committed performances and the film’s skillful blend of jump scares with its deeper themes.

Ehrlich finds the film an urgent, spine-tingling ghost story that powerfully connects horror with the immigrant experience, despite rookie missteps. He praises the lead performances and the way the supernatural illuminates real-world hardships faced by asylum-seekers.

The critic calls it a striking debut that gives the haunted-house story emotional and satirical heft. They praise the sensitive performances of Sope Dìrísù and Wunmi Mosaku.

The critic finds the film a terrifying, unsettling ride with a compellingly ambiguous conclusion. They praise the nuanced performances and Weekes’s strikingly staged supernatural moments.

The critic finds the film a confident, compelling horror debut that refreshes the haunted-house genre with a timely human story. They praise its strong lead performances and its treatment of grief and survivor’s guilt alongside the supernatural haunting.

The review finds the film arresting and jolting. It praises how supernatural horror makes the refugee experience’s grief and trauma palpable.

Ebiri finds the film an inventive, highly effective horror movie whose social themes deepen its emotional impact. He especially praises the unexpected scares and the performances’ convincing warmth, while noting that the story’s real-world dread remains unresolved.

Stanley finds the film a unique, affecting haunted-house story that turns asylum seekers’ trauma into supernatural horror. She praises the lead performances and visual craft, while noting that the score distracts from tender moments.

Smith finds the film’s blend of horror, drama, and folklore forceful and emotionally resonant. He particularly praises how its supernatural terror reflects the characters’ trauma and the challenges of displacement.

The available description presents the film as sophisticated British refugee horror. It singles out the film’s sophistication, but the review’s fuller praise or criticism is behind the paywall.

Chang finds the film a crafty but derivative blend of refugee drama and haunted-house horror, with its scares sometimes distracting from the characters’ trauma. He especially praises the lead actors’ wrenching performances and their complex interplay.

Kiang finds the debut uneven but impressive, with its real-world refugee drama more persuasive than its supernatural horror. She praises the grounded performances and the film’s vivid depiction of refugee life, while finding the later scares rote.

Crump finds the film touching, thoughtful, and relentlessly scary, strongly recommending its blend of immigrant experience and horror. He especially praises the tactile practical effects and the film’s emotional acuity.

The critic recommends the film as an impressive, socially conscious horror story. They praise Dìrísù and Mosaku for grounding its escalating supernatural scares in genuine pain and sadness.

The critic calls the film a terrifying, fresh-voiced debut, though some elements do not work. They praise its inventive haunted-house scares and the way the setting gives form to the refugees’ trauma.

The critic finds the film good but held back from greatness by a rushed, overburdened third act. They praise the lead actors’ emotional performances and the disorienting atmosphere that builds the horror.

The episode identifies His House as its feature review but gives no verdict in the page text. It singles out no specific element for praise or complaint there.

Kermode finds the film mediocre overall but still worth watching. She praises the lead performances and the attention given to forms of horror that are often overlooked.