It’s hard not to draw parallels with other culinary dramas like The Bear and The Menu, where head chefs spiral into madness in their relentless quest for perfection. This brutal, cut-throat world often demands a sacrifice of mental sanity. DeBose embodies this descent into obsession well, crafting an intense culinary experience.
Yet, despite her compelling performance, the script lacks essential flavour, and its undercooked layers leave the final dish bland. House of Spoils is a reminder that a captivating premise can promise an intriguing film, but it doesn’t guarantee delivery.
Chef Marcello (Marton Csokas) ominously declares early on, “To be a chef, you need to love the taste of blood.” This foreshadows DeBose’s transformation into a feral creature, but the film only lightly seasons these ideas. Cinematographer Eric Lin brings a balance of rustic beauty and subliminal horror, moving seamlessly between scenic landscapes and claustrophobic spaces within the haunted mansion. He creates a visual feast, but the weak writing undercuts his carefully curated imagery.
House of Spoils flirts with themes of witchcraft and modern cuisine as well, even toying with the concept of “feeding the soil”, and yet, it fails to deliver a satisfying meal. Ultimately, this Blumhouse horror film offers few real scares and leaves an unpleasant aftertaste.—Narayani M