In a poignant moment from House of Spoils, chef (Ariana DeBose) sits down with her sous chef, Lucia (Barbie Ferreira), to discuss the treatment of women in male-dominated kitchens. While one shares experiences of bullying and torment, the other recounts being relegated to the ‘cold station’ for months without any ‘real’ kitchen work. Their conversation highlights the complex challenges women face in testosterone-filled environments, especially as they step out to pursue their dreams. This scene marks the first real connection between the two, and while these appetizers hint at flavorful storytelling, the main course unfortunately arrives cold.
Cast: Ariana DeBose, Barbie Ferreira, Arian Moayed, Martin Csokas, Amara Karan
Directors: Bridget Savage Cole and Danielle Krudy
Streaming on: Prime Video
DeBose’s character abandons a prestigious job of seven years to move upstate and run her own kitchen. The film then unfolds as a brooding, slow-burn horror with unsettling imagery—like her prepped ingredients rotting or infested with bugs. The otherwise nourishing food turns into something grotesque, capturing a visceral terror. However, House of Spoils leans heavily on overused horror tropes: squeaky windows, lurking ghosts, and random falling objects. While effective in parts, the film serves up the same stale scares until the suspense loses its edge.
It’s hard not to draw parallels with other culinary dramas like The Bear and The Menu, where head chefs spiral into madness in their relentless quest for perfection. This brutal, cutthroat world often demands a sacrifice of mental sanity. DeBose embodies this descent into obsession well, crafting an intense culinary experience. Yet, despite her compelling performance, the script lacks essential flavour, and its undercooked layers leave the final dish bland. House of Spoils is a reminder that a captivating premise alone can promise an intriguing film, but it doesn’t guarantee delivery.
Chef Marcello (Marton Csokas) ominously declares early on, “To be a chef, you need to love the taste of blood.” This foreshadows DeBose’s transformation into a feral creature, but the film only lightly seasons these ideas, rather than fully exploring them. Cinematographer Eric Lin brings a balance of rustic beauty and visceral horror, moving seamlessly between scenic landscapes and claustrophobic spaces within the haunted mansion. He creates a visual feast, but the weak writing undercuts his carefully curated imagery.
House of Spoils flirts with themes of witchcraft and modern cuisine as well, even toying with the concept of “feeding the soil,” and yet, it fails to deliver a satisfying meal. Ultimately, this Blumhouse horror film offers few real scares and leaves an unpleasant aftertaste.