TAll the stars of the 2005 House of Wax remake were having their Hollywood moments when they joined in on the reimagined version of the 1953 Vincent Price classic. Elisha Cuthbert had just exploded in 2004’s Girl Next Door, while Chad Michael Murray was coming. from Freaky Friday and A Cinderella Story. Jared Padalecki starred alongside the Olsen Twins in A New York Minute in 2004 and Robert Ri’chard starred alongside Samuel L Jackson in the early 2005 drama Coach Carter. And then there was Paris Hilton.
The eldest daughter of the beloved Hilton hotels, Kathy and Richard, had become a household name after an unauthorized copy of her sex tape hit the internet, and subsequently through her goofy but popular reality series A Simple Life. , which came out the same year. She and then her best friend Nicole Richie were filmed trying all low paid men’s jobs despite having very little skill (or drive) to get the job done. America was very entertaining … but we definitely weren’t expecting Hilton to appear as one of the main characters in a movie, much less as a killer thriller.
Despite not being an actor by trade, Hilton’s performance in the low-rated film stands out, and that’s due to the fact that audiences can almost instantly tell that she was cast as a parody of herself. Carly de Cuthbert is portrayed as the female lead with perspectives (an InStyle internship in the next few months) and handling, a good head on her shoulders, and a big heart. Hilton’s Paige, on the other hand, is relegated to being his partner, a friend who is too focused on men to be much or do much of anything else. She even takes care of embarrassing sluts during a scene where she appears to be performing oral sex with her boyfriend, Blake de Ri’chard, during a trip, a detail that sounds differently with Hilton playing the part.
Even more predictable, Hilton’s on-screen disappearance comes hand in hand with Scream’s most memorable ruler. After seducing her man with a striptease in her tent, but not before being able to tell him she might be pregnant, Hilton ends up coming face to face with the film’s antagonist in a brutal game of cat and mouse. Perhaps this is where you could say he shines the brightest, the five-minute scene where he fights for his life in a maze of unkempt cars. She uses her smarts and puts up a good fight, and there’s so much damn acting on her face that the suspense makes five minutes feel like 50.
Ultimately, Hilton doesn’t give line reads, doesn’t play the character with a wink to the audience, doesn’t speak as if he suddenly doesn’t know how real people speak. She plays with and against the guy at the same time, and takes herself seriously. It almost seems as if she realized what was expected of her and set out to intentionally subvert it when cameras started shooting. Honestly, that concept doesn’t even seem that far off, knowing who Hilton has become: a global mogul with more business acumen, confidence, and almost shrewd intelligence on her little finger than most have on her entire body.
As for the film surrounding Hilton’s performance, there’s a lot to love about the reboot, despite its lousy 26% rating on Rotten Tomatoes. In fact, I have never really understood the low score. The movie might fall victim to some of the most obvious horror tropes, but that doesn’t erase the fact that the group of leads have chemistry and, yes, even sympathy. Nor does it change the fact that the effects are very well done: the wax museum is creepy And I do not Do you want to think about getting trapped in a melting building once again, and the deaths? They are fun and they keep you locked up. The movie it is A far cry from the horror revival we’re seeing today, or even a remake like Fede Alvarez’s Evil Dead, but ultimately it’s enjoyable in its own way. After all, there are different horror movies for different eras – sometimes you want to be restless and driven insane, sometimes you want to indulge in a predictable but exciting pleasure trip.
In the end, the movie was (and still is) unfairly overlooked in favor of the other notable horror movies of the same year. Amityville Horror, The Devil’s Rejections, The Descent. The truth is, House of Wax can hold its own against many of the genre’s most beloved slashers over the years, and Hilton’s often-ridiculed performance is just one of many reasons to give the film a second chance. Put it on, light a candle, dim the lights. This one is undoubtedly funnier, and messier, than you remember.
George is Digismak’s reported cum editor with 13 years of experience in Journalism