Lonesome doctor Kate Forster (Sandra Bullock) must move out of the lake house she loves so much but leaves a letter for the new tenant in the mailbox with a forwarding address and a few pointers about the house. When Alex Wyler (Keanu Reeves) who’s father built the house moves in he finds things very different than Kate’s letter has revealed. After a few exchanges of questions and curiosities they realize they are living on the same day two years apart. Wondering how this could be happening (as are we) the mailbox suddenly becomes a conduit for their burgeoning love affair. But attempting to meet face to face is the challenge. Reeves is generally perceived as an action hero with Speed and The Matrix movies cementing his fate. So seeing him in romantic films such as Sweet November makes us cringe a little since he always looks like he’d rather be off chasing buses. While this still remains true in Lake House the stiffness actually works since the character doesn’t have much interaction with his object of affection. And of course pairing up with his Speed co-star is a plus. The emotion pours out of the two. Bullock’s slightly guarded character begins to open up to Reeves’ and the letters which turn into conversations throughout the movie depict the connection nicely. Inspired by the South Korean film Il Mare Argentinean director Alejandro Agresti handles The Lake House with a fine hand. It’s true the time-travel premise is more than a little confusing and riddled with plot holes but one has to keep in the back of their mind The Lake House is meant to take you on a journey of sorts. Agresti does an excellent job of doing this highlighting the scenic beauty and having the characters talk to each other through their words. If you just don’t think about the ridiculousness of it too much you’ll enjoy it.
Arthur Kriticos (Tony Shalhoub) is trying to keep his small family together after losing his wife and the mother of their kids Kathy (Shannon Elizabeth) and Bobby (Alec Roberts) in a tragic fire that left them homeless. Out of nowhere one enigmatic Uncle Cyrus (F. Murray Abraham) wills Arthur a bizarre yet dazzlingly beautiful mansion made almost entirely of glass and filled with priceless antiques. There's not much that could go unseen behind the transparent walls except for perhaps 12 pesky ghosts of disturbed folks like onetime mental patients and a kid whose head got in the way of an arrow. It just so happens old Cyrus with the help of his psychic phantom-wrangler Rafkin (Matthew Lillard) has been summoning up a few restless spirits so he can open the Eye of Hell and take over the world or something. They just need one more spirit to finish the job.
All right who's blackmailing Oscar-winner Abraham into taking roles like this? The man should have thrown the script out sight-unseen and then fired his agent. Rah Digga yet another rapper-turned-wanna-be-actress is there to offer some sassy comic relief as the kids' nanny--she's fun in a usual sort of way. Shalhoub-ho hum. Elizabeth? Yawn. She's not even in half the movie. Lillard it can be said is about the only bright spot in this otherwise not-silly-enough not-cheesy-enough not-funny-or-scary-enough horror movie. He's got the right idea as he tries to camp it up as a borderline hysterical psychic who has guilt issues about being able to see everyone's secrets with his "gift." But worst of all is the usually great Embeth Davidtz (um Schindler's List?!) as a--get this--ghost's rights activist who thinks she's channeling Zelda Rubenstein from Poltergeist as she hisses the obvious: "This house is not a house!"
The only thing scarier than F. Murray Abraham taking a role in this movie is that it ever got made at all--then again we have the Dark Castle folks (the same ones who brought us that masterpiece remake The Haunting a few years ago) to thank. They forgot to hire a director and a scriptwriter instead putting visual effects guy Steve Beck behind the camera to show us some semi-interesting special effects (it is a ghost movie after all and you better score some points there). Unfortunately the movie is uneven makes little sense and strives for both laughs and scares but achieves neither with cornball dialog and silly stereotypes; it's wildly gory to boot. Everyone's gonna say the ultra-modern haunted house is the star of Thirteen Ghosts and with good reason. The production design in this movie is amazing and the idea of ghosts hiding behind clear walls is an intriguing if ultimately wasted concept.