This supernatural horror/thriller from writer/director Erik L. Wilson just had its successful premiere at Chicago's Fear Fest, and the film should have no trouble experiencing a good deal of success on the horror fest circuit with its weaving together of real life issues and their supernatural consequences.

Janice (Aimee Bello) does the unthinkable in order to start a new life with her boyfriend (Michael Jordan). All seemingly goes well until their one-year anniversary when, suddenly, strange things start happening.

Shot with the RED ONE camera, House Call features what has pretty much become the calling card for the RED One - pristine imagery with remarkable atmosphere. It's the atmosphere that really helps to sell House Call as a notch above most horror shorts. The film also benefits from a genuinely chilling performance by Aimee Bello, who convinces both with vulnerability and the film's more terrifying moments. While House Call isn't exactly a scary film, it is a suspenseful and chilling film built around a central character who is genuinely compelling. In addition to Bello's fine performance, Michael Jordan (No, not #23) does a nice job as Steve.

Wilson, a Chicago area filmmaker serving up his second short film, takes what could have been a rather fundamental storyline and makes it involving by perfectly balancing its human and supernatural elements. Production quality, as well, is a notch above what one often finds in horror shorts with terrific, mood-setting art direction by Naz Khan, convincing special effects work by Tony Wash, anticipation heightening original music by Aaron Dlugasch and, of course, the excellent camera work of Mike Bove.

With an appearance at Fear Fest wrapped up, Wilson is now waiting on news from other recent festival submissions and should have no trouble distinguishing his film from the crowd with its touch of social justice woven into an involving, mystical story. For more information on House Call, be sure to visit the film's Facebook page listed in the credits.


© Written by Richard Propes
The Independent Critic