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Cara and Brett rekindle their romance, Palmer comes to terms with his mother's wishes and cancer diagnosis, and Lovie and Flo rebury the turtle eggs on the beach. By nightfall, the fog covers the area and Randall has become even sicker. Emily discovers a police car with a radio inside, and she manages to contact someone. The person on the other end asks if "they have been exposed" and tells them to barricade themselves and to not breathe in the fog.
The Beach House
Each of the 96 studio suites in the ocean front luxury boutique hotel is designed to take advantage of the beautiful Pacific Ocean views from both the living room and bedroom areas. When Lovie reveals that she has terminal cancer and likely will not live much longer, Cara attempts to restore their relationship. She helps out by fixing up the house and marking the turtles' nests on the beach. Faced with the reality of death, Lovie finds the courage to stand up to Palmer, taking back control of her finances and planning to leave the beach house to Cara. During a hurricane, Flo digs up the turtle eggs, despite it being illegal, and brings them to the beach house for safe keeping. Toy is rescued from the elements by Brett before she gives birth three weeks early.
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Emily and Randall arrive at Randall's parents' beach house in a remote vacation town. Upon their arrival, they are pleased to see that the town looks deserted. When they enter the house, Emily and Randall go upstairs and have sex and then have a small disagreement.
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Not long after Cara arrives, Lovie tries to set her up with an old flame, Brett Beauchamps (Chad Michael Murray). Having just gotten out of a relationship and not planning on staying for very long, Cara resists. It turns out that the young couple isn’t alone, as an old friend of Randall’s dad named Mitch (Jake Weber) and his wife Jane (Maryann Nagel) have come to the beach house too for a different kind of vacation. Jane has health issues severe enough that this is probably their final trip, and Brown almost digs into the concept that both of these couples likely won’t be together at this time next year, although for very different reasons. Lovecraft’s “The Colour Out of Space” and Stephen King’s “The Mist,” it’s pretty easy to pick out the influences on Jeffrey A. Brown’s stellar debut “The Beach House,” but it’s also a film that stands on its own two injured feet.
Boasting sweaty, shaky camerawork and a firm grasp on tone, Brown’s grisly indie horror flick is yet another piece of work that feels unexpectedly suited to our times. After a slightly rocky first act that succumbs to thin generational differences, Brown allows his slow burn to catch fire and doesn’t look back. You may be regretting not being able to visit the beach this summer.
He keeps things impressively tight, focusing on his four actors largely in slightly shaky close-up, allowing their reactions to what’s going on around them to produce the tension. There are moments of unforgettable imagery, especially in a scene involving Emily’s foot that will send the squeamish running for the door (wear a mask if you have to run all the way outside), but “The Beach House” is a wonderful example of lo-fi horror. Most of the shots are of Emily or Randall’s face, or the fog outside. "The Beach House" reminded me of one of the reasons I love indie horror, in that Brown understands how much can be done with a performer who conveys terror instead of just a gruesome plot twist or CGI. Liberato is great, allowing us to believe Emily’s mounting horror over the world around her, and Brown knows to place most of the film’s weight on her shoulders.
When she wakes up the next day, she finds a catatonic Jane sitting in the kitchen, covered in skin lesions, and Mitch missing. By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes. By creating an account, you agree to the Privacy Policy and the Terms and Policies, and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands. Rent By Owner has helped millions of travelers find the perfect place to stay. Book directly and compare the best deals across a global network of trusted travel sellers. We feature more than 10M properties located in 196 countries, and 180,000+ cities around the world.
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In addition, Cara must contend with Palmer (Donny Boaz), her assertive, ambitious brother. Their relationship is tense, as he resents her for moving to Chicago and leaving him to deal with their late father, who was a domineering man. He announces plans to move Lovie in with his family and put up condos on the property where the beach house currently stands. Randall and Emily decide to go to the beach, which they are surprised to find is completely empty. After a while, Randall gets sick to his stomach and rushes back to the house. In the bathroom, he sees the water from the sink forming strange patterns; then, hearing Jane moan, he goes to help her.
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When Emily turns on the TV she finds an Emergency Alert System on every channel and a radio broadcast reveals that the microbes, which were preserved in underwater rocks, had been released by global warming. Emily suggests they wait until morning, but Randall is scared of dying. Emily goes into the basement, finds oxygen tanks for scuba diving, and concludes they can use them to breathe in safe air. She also discovers a horribly mutated person feeding on a corpse. Upstairs, she discovers Randall has succumbed to the infection and kills him. Finding the keys to a car, she drives away but becomes disoriented in the fog and crashes into a tree.
Cara has always resented her mother's devotion to the turtles (Lovie went so far as to source the name "Caretta" from the scientific name for loggerheads). Cara is also initially jealous when she meets Toy Sooner (Makenzie Vega), a single, pregnant 20-year-old whom Lovie has taken in. The Beach House had its world premiere at the Strasbourg European Fantastic Film Festival in September 2019.[3] The film was made available for streaming on Shudder on July 9, 2020.
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They soon learn that another couple is already staying at the beach house—Mitch and Jane Turner, old friends of Randall's father. Jane is terminally ill, and Mitch hopes to give her one last happy vacation. Because the house has plenty of room, both couples decide to stay. With more than 2474 oceanfront rentals in or near Los Angeles, Rent By Owner features many wonderful beachfront places to stay. Are you traveling with groups, families, friends, or as a couple to Los Angeles?
He muses that something about the area feels off, then tells Emily he is going for a swim; instead, he drowns himself. It stings her and Emily sees a worm-like creature crawling in an open wound. She finds a sickened Randall being pursued by Jane, who has milky white eyes and strange fluid leaking from her mouth. Managing to lock Jane in the house, Randall and Emily escape into the slowly thickening fog.
And Brown finds something in the emptiness of the world around this beach house that feels ominous long before things get Lovecraftian. It’s that sense you get on an empty beach that you’re alone and the world is much bigger and stranger than anyone knows. “The Beach House” leans into that feeling of human insignificance in the larger picture of the evolutionary cycle. In the grand scheme of things, we are but a blip on the timeline. Horror films like “The Beach House” like to play with the universal fear that the human blip can be erased. Films about the fragility of the human condition have taken on different energy since March, with works like “Sea Fever,” “Relic,” and now “The Beach House” earning unintended layers, but Brown’s direction here would have been effective in 2019 too.
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