A few years back I screened Tobe Hooper's Poltergeist for CAA year 1 as part of an 'Unheimlich' film programme that also included Invasion Of The Body Snatchers (1956) , Invaders From Mars (1953) , The Stepford Wives (1975) , Halloween (1978) and Blue Velvet (1986) . The underlying theme was American cinema's ambivalence for perfect lawns and picket fences. Here are shared visions of suburban disquiet and the horrors of homogeneity; here are narratives in which home and hearth become 'final girl' obstacle courses and crawl-spaces, in which domestic space is invaded - sometimes brutally, but more often with stealth and chilling, invisible haste. ( They're here already! You're next! ) . Indeed, with the exception of Poltergeist , all these films end uneasily with the threat to our domestic space unvanquished in the final reel; sure, Blue Velvet appears to restore order and equilibrium, but no one actually believes everything is going to be o...