There are certain rules for film journalists or, at the very least, for accredited film journalists who take their professionalism seriously. 

You never tell the story in your review (though we all certainly know film critics who violate this standard regularly).

You keep the secrets a secret and the twists unrevealed. 

You never give an unwarranted positive or negative review no matter how much you love or loathe the filmmakers or actors involved. 

Oh, and you never read other reviews before writing your own. 

Crap. 

I found myself visiting RogerEbert.com for another film when I happened to notice a review already live for Lisa Belcher's Abramorama release House of Abraham, a film of thought-provoking psychological terror given a thorough critical lashing by Ebert's Peyton Robinson.  

So, let me just start with a game of Mr. Obvious. Robinson is wrong. 

House of Abraham opens with a bit of a horrifying scene, a scene unexplained yet eventually filled with tremendous meaning. Then, we're introduced to Dee (Natasha Henstridge). Dee is a trauma survivor now saddled with a Stage IV breast cancer diagnosis who drives up to a secluded retreat where she is initially greeted by a mysterious housekeeper named Beatrice (Lin Shaye). She enters, somewhat reluctantly, and subsequently meets her fellow guests - Victor (Gary Clarke), Alex (Marval A. Rex) Pierre (Sean Freeland), Jonathan (William Magnuson), and Shannon (Khali McDuff-Sykes). 

And then there is Abraham (Lukas Hassel), a charismatic and eerily provocative man whose presence simultaneously seduces and sends up red flags. 

Opening in New York this week with indie distributor Abramorama, House of Abraham for sure isn't the type of film one sees at your neighborhood multiplex. Part thriller and part horror and rich in meaning and purpose, House of Abraham is unafraid to ask difficult questions and to propose dark scenarios grounded deeply in what it means to live, what it means to die, and how we approach it all. 

Directed by Belcher from a script by Hassel, House of Abraham is a refreshingly blunt film (a key concern expressed by Robinson). I, on the other hand, embrace the bluntness as a narrative tool necessary for the film's difficult subject matter. If you haven't guessed by now, House of Abraham is centered around life as a choice and death as a choice and the horrors that can manifest amidst it all. This idyllic retreat that never really feels idyllic is a final destination. It's a place where the cult-like Abraham will companion you through your own suicide in an environment that projects accepting warmth. 

While a couple who gather, Dee included, have tangible medical diagnoses to support their final choice, others exist in an uncomfortable grey area where you'll find yourself debating their stories as they unfold. You may find yourself agreeing with some and disagreeing with others, however, Hassel's script never lets anyone off the hook easily. 

I've long been fascinated by Hassel's work. Hassel, without fail, continues to impress. 

As Abraham, Hassel has a calm exterior with just the appropriate hint of menace. You trust him. You'd surrender to him. You're absolutely charmed by him. 

Yet, you wonder. 

As Dee, Natasha Henstridge elevates what could have easily been interpreted as a one-note role. She clearly understands Hassel's every character nuance and she brings them all to life quite powerfully. Similarly, we are once again reminded here of the absolute wonder that is Lin Shaye. 

The rest of the ensemble is equally impressive with each having their own moments to shine and Gary Clarke's Victor, in particular, being memorable far past the film's closing credits. 

I suppose Robinson is correct in that a more subtle, underplayed script could have brought out different dynamics. However, it's pretty clear what Hassel is going for here and it's fascinating watching it all come to life. Perhaps best known for his work on The Blacklist, Hassel once again has created a memorable character we won't soon forget. 

Alex Walker's lensing is impactful throughout House of Abraham. The original music by Steffen Schmidt amplifies the film's emotional rhythms without ever dominating them. The entire production team on this indie project deserves kudos. 

House of Abraham isn't likely a film for everyone, though those who appreciate psychological thrills, guttural terror, and intellectual turmoil will thrive within the tapestry created by Lisa Belcher and Lukas Hassel and this gifted and intuitive cast and crew. 

Written by Richard Propes
The Independent Critic