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Let's Scare Jessica to Death

Let's Scare Jessica to Death

Horror · Mystery · Drama · 1971

Newly released from a mental ward, Jessica hopes to return to life the way it was before her nervous breakdown. But when Jessica moves to a country house with her husband and a close friend, she finds a mysterious girl living in there. Jessica's terror and paranoia resurface as evil forces surround her.

Movie details

Let's Scare Jessica to Death

“Something is after Jessica. Something very cold, very wet...and very dead.”

1971 Horror · Mystery · Drama 1h 29m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Newly released from a mental ward, Jessica hopes to return to life the way it was before her nervous breakdown. But when Jessica moves to a country house with her husband and a close friend, she finds a mysterious girl living in there. Jessica's terror and paranoia resurface as evil forces surround her.

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 Let's Scare Jessica to Death?

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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The Legend of Hell House

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Smile

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Names above the title

The people responsible.

Directed by

John D. Hancock

Zohra Lampert

Zohra Lampert

Jessica

Barton Heyman

Barton Heyman

Duncan

Kevin O'Connor

Kevin O'Connor

Woody

Gretchen Corbett

Gretchen Corbett

The Girl

Alan Manson

Alan Manson

Sam Dorker

Mariclare Costello

Mariclare Costello

Emily

Court is in session

Put Let's Scare Jessica to Death 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 Popcorn Loyalist

“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.