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The Amityville Horror

The Amityville Horror

Horror · 1979

George Lutz, his wife Kathy, and their three children have just moved into a beautiful, and improbably cheap, Victorian mansion nestled in the sleepy coastal town of Amityville, Long Island. However, their dream home is concealing a horrific past and soon each member of the Lutz family is plagued with increasingly strange and violent visions and impulses.

Movie details

The Amityville Horror

“For God's sake, get out!”

1979 Horror 1h 58m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

George Lutz, his wife Kathy, and their three children have just moved into a beautiful, and improbably cheap, Victorian mansion nestled in the sleepy coastal town of Amityville, Long Island. However, their dream home is concealing a horrific past and soon each member of the Lutz family is plagued with increasingly strange and violent visions and impulses.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Amityville Horror?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Stuart Rosenberg

Written by

Sandor Stern

James Brolin

James Brolin

George Lutz

Margot Kidder

Margot Kidder

Kathy Lutz

Rod Steiger

Rod Steiger

Father Delaney

Don Stroud

Don Stroud

Father Richard Bolen

Murray Hamilton

Murray Hamilton

Father Ryan

John Larch

John Larch

Father Nuncio

Natasha Ryan

Natasha Ryan

Amy

Court is in session

Put The Amityville Horror on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.