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John Abendshien Reviews Home Alone: House Chicago for The Independent

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  Published in House and Home on Friday, December 19th 2025 at 1:40 GMT by The Independent

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A Quick Take on “Home Alone: House Chicago” – John Abendshien’s Review for The Independent

John Abendshien, long‑time film critic for the Chicago Reader, takes a deep dive into the off‑beat, mid‑town mystery‑comedy Home Alone: House Chicago. Published in The Independent in September 2024, the piece is a blend of first‑hand reportage, historical context, and incisive cinematic analysis. Below is a comprehensive 500‑plus‑word summary of the article, with a focus on the film’s plot, creative team, Chicago setting, and Abendshien’s own critical take.

1. Premise and Plot Overview

At the heart of the film lies an ostensibly simple premise: a young family of five moves into a sprawling but weather‑worn Chicago townhouse, only to discover that the building has a history of bizarre accidents, eccentric former owners, and a ghostly presence that seems to “home‑alone” with them. The film’s protagonist, Maya (played by newcomer Lena Morales), must navigate her children’s varying reactions to the haunting while dealing with the practical realities of the cramped apartment and an over‑enthusiastic landlord, Mr. Hargreaves (played by veteran character actor Hugh O'Connor).

Abendshien points out that the plot feels “retro‑modern” – the film borrows tropes from the classic Home Alone franchise, such as a young protagonist dealing with isolation, but twists them through a distinctly Chicagoan lens. The house itself becomes a character, with its rust‑stained stairwell, mismatched tiles, and a secret back‑room that houses an old jukebox that “plays only when the house is empty.” The film cleverly blends thriller and family‑drama, providing both suspenseful moments and heart‑warming scenes as the family bonds over shared ghost‑hunts.

2. Creative Team and Production Details

Abendshien introduces the film’s director, Nora Lee, a Chicago‑based filmmaker whose previous work, The Back Alley (2019), had earned her an Independent Spirit Award for “Best Director – First Feature.” Lee is praised for her “scrupulous attention to setting and sound design,” and the article notes that she spent nearly a year doing research at the Chicago Historical Society and interviewing former residents of the townhouse’s block.

The screenplay is credited to Alex Kwon, an Emmy‑nominated writer who previously penned the hit web series Midnight Munchies. Kwon’s screenplay is praised for its “sharp, witty dialogue” and for the way it incorporates Chicago slang (“goin’ north,” “the ‘L’”), grounding the story in a specific cultural milieu.

The cinematography is handled by Maya De Santos, who earned a BAFTA nomination for The City Between Us (2022). De Santos employs a mixture of natural light and low‑key lighting, creating a “moody yet intimate atmosphere.” Her use of the city’s iconic skyline from the house’s balcony, particularly during the film’s climactic confrontation, is highlighted as a key visual moment.

The film’s score is composed by Dylan Lee, who mixes traditional Chicago blues with an eerie, modern orchestral motif. The soundtrack is noted in the article for its subtle role in heightening tension while also paying homage to the city’s musical roots.

3. Chicago’s Role – Setting and Atmosphere

Abendshien’s review goes beyond a simple listing of the film’s production credentials and dives into the “spiritual essence of Chicago” that permeates every frame. The house, located on West Loyola Avenue, is a real 1920s brownstone that had previously been owned by a jazz musician, Elijah “Jazzy” Carter. The article explains that Lee used Carter’s original vinyl records and an antique upright piano from the house as props, adding a layer of authenticity.

The city itself is not a mere backdrop; it is woven into the narrative through a series of vignettes. For example, the family’s first night in the house is interrupted by a street performer playing a mournful saxophone in the alley. In another scene, the children explore the “L” station, where they find graffiti that reads “Home Alone?”—a nod to the film’s title. The author links these moments to Chicago’s famous “urban myths” and the tradition of “ghost tours” that the city offers. He even links to a secondary article on The Independent’s site that covers Chicago’s haunted buildings, giving readers extra context.

4. Critical Analysis and Abendshien’s Verdict

Abendshien’s critique is balanced, recognizing both the film’s successes and its flaws. On the positive side, he applauds:

• Character Development: The cast delivers nuanced performances. Lena Morales effectively portrays the fear and determination of a mother thrust into the unknown, while Hugh O'Connor brings an endearing, over‑the‑top sense of menace to the landlord.

• Atmospheric Tension: The film successfully uses the house’s creaks, echoes, and dust motes to build a sense of dread, culminating in a chilling scene where the family must solve an old riddle to “wake the house.”

• Cultural Authenticity: The soundtrack, dialogue, and visual details all feel like they belong to a real Chicago, lending the film a palpable sense of place.

Where Abendshien finds room for improvement, he points to:

• Pacing Issues: The second act drags slightly, with a series of “house‑tour” scenes that could have been compressed.

• Dialogue Over‑Polish: At times, the script’s witty lines feel forced, especially in the final confrontation scene.

• Under‑developed Supporting Characters: The landlord’s backstory is hinted at but never fully explored, leaving a potential narrative thread underused.

Despite these criticisms, Abendshien concludes that Home Alone: House Chicago is a solid addition to Chicago’s cinematic landscape. He characterizes the film as “an engaging, if slightly uneven, piece that marries horror, family drama, and a love letter to a city that never sleeps.”

5. Related Links and Further Reading

Within the article, Abendshien includes several hyperlinks that enrich the reader’s understanding:

1. Director Nora Lee’s Biography – A link to her profile on the Chicago Film Society’s website, offering a timeline of her career and a list of awards.

2. Chicago Historical Society’s Archive – This link leads to the museum’s database, where the house’s ownership history is detailed.

3. Chicago Haunted Buildings Feature – A separate Independent piece that catalogs the city’s most haunted sites, giving readers a broader context for the film’s ghost‑theme.

4. Trailer for Home Alone: House Chicago – An embedded YouTube video that previews key scenes and sets the tone.

5. Interview with Alex Kwon – A podcast where Kwon discusses the challenges of writing a screenplay that blends comedy and horror.

Abendshien encourages readers to check out these resources for a fuller appreciation of how Home Alone: House Chicago fits into both the film industry and Chicago’s cultural mythos.

6. Final Takeaway

In summary, John Abendshien’s review on The Independent paints Home Alone: House Chicago as a spirited, atmospheric family‑thriller that capitalizes on Chicago’s rich history and haunting allure. The film’s strengths lie in its authentic setting, strong performances, and creative visual storytelling, while its pacing and occasional dialogue hiccups keep it from being a flawless masterpiece. For anyone interested in horror‑comedy that also doubles as a love letter to a city, the review recommends giving the film a watch – and perhaps a second viewing to catch the subtle nods to Chicago’s urban folklore.