Netflix’s Tense And Tragic 2000s Thriller Is A Deceptive Family Fraud

Written by Robert Scucci | Published 1 second ago

Sometimes a thriller gets a little too on the nose, and loses its ability to create suspense because you already know every beat going into it. in 2001 The Glass House it’s a master class in setting up what you already know is going to happen, which is a shame because it’s well made and shot, but its viewing doesn’t allow the viewer to read between the lines. It’s your classic story about two teenagers who are adopted by their wealthy gods and given a life situation that seems too good to be true.

As you might expect, it all seems too good to be true because it is. The Glass House it makes the fatal mistake of putting all its cards on the table too early to allow for a satisfying payoff, and as things escalate quickly, its entire premise is pushed to the point of absurdity before you even realize that the opponents have the last name Glass and live inside a real glass house. If you find yourself wondering, “What could go wrong here?” you will find it soon.

Those Who Live in Glass Houses…

It shows its name in figurative sense and literal pain, The Glass House It wastes no time setting up its conflict. 16-year-old Ruby (Leelee Sobieski) and her 11-year-old brother Rhett Baker are orphans when their parents, David (Michael O’Keefe) and Grace (Rita Wilson), die tragically in a car accident after their 20th wedding anniversary. After the funeral, Ruby and Rhett find out that they are going to live with Terry (Stellan Skarsgard) and Erin (Diane Lane) Glass, an extremely wealthy couple who move back in with the Baker family.

Before transitioning to their new living situation, Ruby is told by her parents’ attorney, Alvin Begleiter (Bruce Dern), that she and her brother will not have to worry about money as adults, thanks to their parents’ wise financial decisions before their deaths.

Almost immediately, you can tell that something is off. Terry makes sex passes on Ruby, while Rhett is bought new video game systems to keep him distracted from the impending family and financial crisis. Terry owns a luxury car dealership, and Ruby sees him being terrorized by loan sharks after talking about his new “bank”. Erin, a popular doctor in the area, is seen more than once shooting up drugs and passed out in the living room, which she always attributes to her daily insulin that she needs to treat her diabetes.

Although the authorities eventually intervened The Glass Housethere’s not much Alvin can do when Ruby expresses her concern to him. Ruby’s secret conversations with Alvin, the social workers, and her personal emails, appear to be reviewed by Terry in advance, resulting in her always having the perfect answer when asked about the family dynamics by a third party. We know that the Glass family is good, and we know that Ruby and Rhett are in danger, so there is no major tension built into the movie. The setup doesn’t make any other effect happen, leaving you hoping that something is missing that could cause doubt.

When in Doubt, Listen to the Movie Score

The biggest problem I have with me The Glass House its interesting sound design and film effects. The music itself is great and exactly what you’d expect from a thriller, but it also serves as a vague reference to everything sinister going on inside the Glass abode. Ruby wanders while Terry watches her every move, waiting to confront her, so the string section is choppy and plucky, with the occasional odd piano note poking through the mix. Every crescendo is there to tell you that a panic or revelation is coming.

Terry and Erin have a nice photo during the day, but the second the sun goes down, they argue behind closed doors, and Terry starts doing his dirty work. Ruby begins the film as a troubled, directionless student going through a rebellious phase, then becomes the most observant teenager you’ve ever seen, covering up all of Terry’s behavior problems and deftly managing her way out of a horrible home life.

The Glass Housewhich should work as a thriller, lacks self-indulgence because every trope is used to its full potential, and it all leads to its most obvious conclusion. If you’ve never seen the thriller, it works as a solid starter for newcomers or younger audiences because it wears all of its conventions on its sleeve, which isn’t necessarily a bad thing if you’re just trying to get familiar with the beats before moving on to something more refined. If you’re already deep into the genre, though, this one won’t offer much beyond frustration.

As of this writing, The Glass House is streaming on Netflix.