"The Haunting" is one of the lamest attempts at creating a horror story I've ever seen, but in terms of funhouse style and visual effects, Jan de Bont has created a haunted house with style, elegance, and even some terror. The sequence of events never really takes hold as it should, and like de Bont's previous film, "Twister," it's merely an outlet for the visual effects. But that doesn't mean one can't have fun with the film.

The central story centers around a psychiatrist, Dr. David Marrow (Liam Neeson), inviting three unsuspecting strangers to a haunted house under the guise that they are participating in an experiment on insomnia. There's Luke (Owen Wilson), a typical guy who starts running after the charms of Theo (Catherine Zeta-Jones), the bisexual jetsetter who has a unique zest for life. And then there's timid little Eleanor (Lili Taylor), whose fragile feelings will become the centrifuge for the many bizarre occurrences during their stay.

Once in the house, things begin to go bump in the night. Their first night in the house provides a very chilling atmosphere, as strange and inexplicable poundings on walls and bedroom doors begin waking Nell and Theo from sleep. This is quite an experience for any audience who enjoys a good theater jolt: the very presence of the entity on the other side of that door can be felt through the extreme poundings and echoes throughout the house when things quiet down. De Bont is able to create an atmosphere that is enveloping and frightening in one.

But at this point, the story takes a nosedive, tying shy Nell's past to the house itself, resulting in a forthcoming conclusion that is more laughable than it is touching. The final showdown isn't very effective, and there's little to talk about once the movie is over in terms of its storyline progression (ask anyone, and they'll describe the second half as a lot of running around, in and out of the house, only to find themselves running again.

And that running is exactly what the movie seems to be doing the entire time. It seems to be so confused about its own sequences of events that, when there comes a time for the movie to conclude, it decides to throw something else in for the sake of it being there, whether it works with the story or not.

So, in order to enjoy "The Haunting," one must put any sense of logic aside, and just sit back and enjoy the ride. And what a ride it is, containing some of the most dazzling and effective special effects money can buy and putting them to good use. De Bont literally brings us into Hill House, making us believe in the entities that thrive there even if their purposes are just as unbelievable.

One scene involving a staircase with a mind of its own is particularly effective. Dr. Marrow hangs on for dear life as the iron stairs begin falling out from under his feet, in a slow process that is never tedious or without suspense. Another scene that jumps to mind takes place in Nell's bedroom, as the entire room begins to breathe itself to life, collapsing on her, taking on ghostly characteristics. This is one visually striking antagonist.

The house itself, without the ghostly appearances, is magnificent, making the Xanadu of "Citizen Kane" look like a third-world trailer park. Taking on some very tasteful and elaborate colors and designs, the house is beautiful and breathtaking while also possessing a menacing demeanor. Everything is large, obtrusive, looming, reducing our characters to meager inhabitants amidst a vast ocean of doors and hallways.

The characters themselves are animated by some very nice talent. Dr. Marrow is played by Liam Neeson, who comes across as serious in scenes with dialogue that would induce laughter from most actors. Catherine Zeta-Jones may not be a believable switch-hitter, but her charm and exuberance fill the role with zest and sex appeal, something to be admired. Owen Wilson has some very subtle moments of comedy as Luke, while Lili Taylor steals the show as Eleanor, filling her character with fear and strength in one.

"The Haunting" is nothing like the novel on which it is based, nor is it anything like the superior 1963 original film. But at the same time, it's increasingly atmospheric and ominous, two things a haunted house film needs! De Bont's sense of style and effect come in handy in this funhouse of a film, which is worse than you had hoped, and better than you had feared.

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