Worth: $13.00
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Cast:
Kate Bosworth, Justin Long, Gia Crovatin, Lucy Walters
Intro:
… a largely successful deconstruction of masculine tropes which has a welcome bit of gore to help lubricate further online debate in the future.
Despite the infinite space of the internet, there’ll never be enough room to talk about the intricacies and stylings of any one particular filmmaker. There’s always one more layer of their work to pull back, or some thematic avenue yet to be explored. Or one more question about the Marvel Cinematic Universe to ask them for no reason. Case in point: Neil LaBute.
The playwright turned director’s work is regularly analysed and reanalysed with each think piece declaring it to be everything from a reflection of the dark underbelly of society that deliberately antagonises, to simply being straight-up misogyny. In the Company of Men, Your Friends and Neighbors and, yes even the lamentable Wicker Man remake have all come under scrutiny.
LaBute’s latest film, House of Darkness, seems a bit clearer cut in its themes; with the writer/director dismantling the idea of the ‘good guy’ persona adopted to lure women into bed. Think Promising Young Woman but with just a hint more Gothicism.
The film starts with Hep (Justin Long) dropping off Mina (Kate Bosworth) at her palatial home. Prior to this, the two had met at a bar and Hep just wants to make sure Mina gets home safely. That’s all, honestly. When the forthright Mina suggests things could go further, the seemingly flustered Hep jumps at the chance a little too eagerly. Once in the confines of her home, and left alone for a moment, Hep’s mask slips and he calls his friend to proudly announce his next sexual conquest.
What follows is a verbal battle of the sexes, as Hep continues his charade as an all-round courteous bloke, while the never-shaken Mina chips away at this persona. Plying him with booze, Mina appears to enjoy making Hep squirm as he struggles to maintain his ‘good guy’ routine. When Mina’s sister, Lucy (Gia Crovatin) enters the picture, Hep really has his work cut for him.
If you know your literature, then Mina and Lucy’s names will switch a lightbulb on in your head and you’ll be waiting for all this to pay off. And in the end, it does, but LaBute has no desire to get there quickly. He has his leads circle each other in a dance that for the most part works wonderfully.
As Hep, Long makes a pretence at stalking Mina. Starting off coolly – in his head at least – he tries to coerce Mina into doing things in a manger that suggests they’re always her idea. His negging is obviously a trick that’s worked for him in the past. As the film progresses, his armour begins to drop and it’s not long before the real Hep comes out to play. Meanwhile, to steal an idea from Silence of the Lambs, Bosworth’s heartrate never appears to exceed 85bpm. She lobs clarifying question after clarifying question at Hep, knowing that eventually he will crack.
LaBute’s languid pacing means that even at under 90 minutes, House of Darkness can test the patience. Maybe that’s down to the film’s plot twist being visible from outer space. As a viewer, you may find yourself so far ahead of the film that you’ll be tapping your feet waiting for the dénouement to catch up with you.
Overall, though, House of Darkness is a largely successful deconstruction of masculine tropes which has a welcome bit of gore to help lubricate further online debate in the future.
