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House of D

House of D

Comedy · Drama · 2004

In the present, artist Tom Warshaw recalls his traumatic coming of age. As a 13-year-old growing up in New York City in 1973, Tom hangs out with Pappass, a mentally disabled man. With Tom's mother battling depression after the death of her husband, the young boy is left to his own devices. When Tom develops a crush on schoolmate Melissa, Pappass feels abandoned and begins behaving erratically.

Movie details

House of D

“See the world a little differently.”

2004 Comedy · Drama 1h 37m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

In the present, artist Tom Warshaw recalls his traumatic coming of age. As a 13-year-old growing up in New York City in 1973, Tom hangs out with Pappass, a mentally disabled man. With Tom's mother battling depression after the death of her husband, the young boy is left to his own devices. When Tom develops a crush on schoolmate Melissa, Pappass feels abandoned and begins behaving erratically.

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 House of D?

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

David Duchovny

Written by

David Duchovny

Anton Yelchin

Anton Yelchin

Tommy

Téa Leoni

Téa Leoni

Mrs. Warshaw

David Duchovny

David Duchovny

Tom Warshaw

Robin Williams

Robin Williams

Pappass

Erykah Badu

Erykah Badu

Lady / Bernadette

Frank Langella

Frank Langella

Reverend Duncan

Magali Amadei

Magali Amadei

Coralie Warshaw

Court is in session

Put House of D on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.