Before Barbie, Greta Gerwig co-starred in this brilliant 80s-inspired horror film

Nostalgia may be all the rage right now, but few modern horror films capture the essence of the 1980s classics. They may doggedly try to imitate the vibe, but I can always take note of everything that gives the game away, from the modern filmmaking techniques to the actors themselves. For me, something is always wrong, and I sour halfway through a film when it tries too hard (unsuccessfully) to recreate the 80s paranormal or terrorist genre.

That’s why I was drawn to The House of the Devil, director Ti West’s brilliant exercise in chilling retro realism. It’s available to stream with an AMC Plus subscription or for free on Tubi. This indie masterpiece transports me back to a time when horror was all about suspense, atmosphere, and a slow build to a terrifying climax. And it does so while staying true to the era of terror it aims to invoke.

The film follows Samantha (Jocelin Donahue), a college student desperate for money who takes a job as a nanny in a creepy old mansion. She soon discovers that she is dealing with a load very different from that of a child when she arrives on the scene. When left alone at night, she orders a pizza and shows a movie on TV, as the terror grows more and more and the audience prepares for something horrible. The House of the Devil is reminiscent of classic films like Halloween and When a Stranger Calls, but magnified tenfold.

From the opening credits, House of the Devil sets the tone with a ridiculously accurate and detailed retro aesthetic. It doesn’t just happen in the 1980s – it feels like it was made then. The film’s grainy texture, period-appropriate costumes and hair are absolutely perfect. It’s set to a curated soundtrack with tracks including One Thing Leads To Another by The Fixx and The Break Up Song by The Greg Kihn Band. The film doesn’t just feel like dressing up in ’80s tropes, but like it was born in that era.

The film was shot on 16mm film, creating its specialized throwback look, and elevates cinematography straight from ’80s filmmakers, along with a host of other techniques to evoke classics of the era. Everything, even the credits, is accurate, and I appreciated all the attention given to making sure everything matched, right down to the cups in the pizzeria seen at the beginning of the film.

Sam realizes something is wrong when she comes across proof that the family that hired her for the babysitting job is not the same one in the photos. Realizing she may have been tricked, she tries to call 911, but has already eaten a piece of bad pizza. She faints the moment she gets an idea of ​​what exactly she was hired to “take care of.”

The film’s path is littered with terrifying moments (just ask Sam’s best friend Megan, played by Barbie director Greta Gerwig), with incredibly gruesome practical effects that unsettle and chill you to the bone. And the horrible “Mother,” which Sam discovers is tied to his original work, is an example of 80s cinema that would have left audiences queasy.

Without spoiling the climax, The House of the Devil maintains a torturous and unsettling sense of dread throughout its running time. It’s not afraid to use themes of isolation, the unknown, and betrayal to keep you on the edge of your seat, which I appreciated on my first viewing and have only come to love more with each new viewing. But as horrific as the story is, I firmly believe this film would not have been possible without his commitment to staying true to the era that inspired it.

If you’re looking for a horror film that doesn’t rely on cheap jump scares or the campy “sex is bad” parable of a group of teenagers being picked off one by one, House of the Devil is one of the better films. you can put it on your Halloween viewing list. He brings the golden years of 80s horror to life in believable and decadent ways that will make you squirm in your seat. I’m still figuring out the joke-worthy climax, and I bet you are too.