The eccentric nature of this film initially caught me off guard because the writer seems to be going for surprising rather than expected. I choose to say that because the viewer never knows what might happen next. For example, Posey tapes masking tape in the shape of an "X" on the windows of their luxury home and when asked why she's doing this, she says she "saw it on the news" and after this they move on to another random activity that fits into the setting. Never boring, the random events come together well. While the incestuous relationship between the twins is predominantly one-sided with Jackie-O being obsessed with Marty, Marty continues to feed his sister's desires by playing the role of John F. Kennedy even though he knows his sister is on medication. Their mother suggests to Lesly, Marty's fiancé that she is a symbol of purity for Marty and that she should go away or inevitably leave without Marty because he isn't. Anthony, played by Freddie Prinze Jr., was unnecessary to the film because you could literally delete his character and not much would change. When he annoys Lesly in her room, I as a viewer was also annoyed because I was anxious to get back to the more interesting developments in the film. The mother could remain because she adds an interesting layer to because of the mysterious death of the father and the mother's view of her incestuous twins. Tori Spelling and Parker Posey had good chemistry together. *spoiler alert* When Marty decides to be with the "symbol of purity" character Lesly over his maniacal twin sister, the narrative lost some of its power. He had just spent the night making love to his sister. His fiancé, Lesly, spent the night having sex with his brother Anthony, yet they still decide to be together even though they had gone through this experience of sexual promiscuity. I don't mean to say they should have cared more. I think the writer should have explained in a more thorough way why the characters would make the decisions they made. Overall, it was a good film and worth a watch.

From Wendy MacLeod's play about a 1963 Thanksgiving reunion between a young man and his peculiar family, including a twin sister who is obsessed with Jacqueline Kennedy. Oppressively set in a shadowy house during a raging storm, this head-scratching talk-fest quickly tires both the eye and the ear. The scenario is full of dreary eccentrics, although Parker Posey's 'Jackie-O' is a dark, original creation unto herself. The actress, known for going out on a limb with basically unplayable roles, manages to walk a fine line between comically scabrous and downright scary (which, in an otherwise boring movie, is a triumph). Other performances by Josh Hamilton, Tori Spelling, Freddie Prinze, Jr., and a sadly under-valued Genevieve Bujold are not quite as on-target, mainly due to the sophomoric writing. *1/2 from ****

This film's thick and pervasive irony requires a sophisticated sense of humor. Starring Freddie Prinze, Jr., and the inimitable Tori Spelling, "The House of Yes" didn't give me great expectations, but for Parker Posey I was willing to take the risk. It turned out to be perhaps the most original comedy I've ever seen and one of my new favorite films. Naive reviewers and low ratings here on IMDb have confirmed my suspicion that most people completely miss the point of this film. There is nothing earnest or straightforward in the least about the story or the dialog. Writer Wendy McLeod and director Mark Waters are trying to do for film and theater (certain genres of them, at least) what "A Mighty Wind" did for folk music, or "Best in Show" did for dog shows. Although, I contend that "The House of Yes" accomplishes this parody in a vastly more ruthless and consistently incisive way than Christopher Guest could ever dream.The entire film is poking fun at all things trite, melodramatic, and self-serious about modern film and theater. From the narrative, the characters, and the setting, to the direction, cinematography, and dialog (especially the dialog), "The House of Yes" is not a film but a caricature of a film, adapted from a play that is the caricature of a play. Anyone who has read or seen a few modern plays will recognize the stilted, stylized dialog and the actors' artificial, super-sincere interpretations. Wendy McLeod is no idiot; she has a post-graduate degree in theater from Yale. She's not writing this doggerel in earnest; she's making fun of other people's doggerel. I mean, c'mon.In less skillful hands, this film could easily have slipped into the realm of burlesque. If, for the sake of humor, you want to point out lots of annoying, hackneyed film and theater conventions, you run the risk of making an especially annoying film. But I think, for the most part, McLeod and Waters dodged this bullet. Not every line in the film hits the perfect chord, but a surprising majority of them do."The House of Yes" is not typical as a dark comedy, as a cult film, or as any other film genre. I've never seen anything else like it. If you're smart and have a wicked sense of irony, you'll love "The House of Yes." If you can't recognize a joke without a laugh track, I recommend "There's Something About Mary."

A very dark, funny little movie. Parker Posey is tremendous, and most of the film exists as little more than a set-up for her character. My only real complaint is the stilted, "stagey" way the dialog is delivered. It feels like they are going for a 1930's Broadway play vibe, a twisted Rogers and Hart show, and the acting shows that direction. On a live stage, I'm sure it wouldn't have been noticeable; but the delivery is conspicuous when captured on camera. Still enjoyable, but the effect is distracting. See it for Parker Posey, and for a surprising Tori Spelling, and try not to worry too much about what happens at the end.