Neil LaBute, the man behind the Wicker Man remake, turns his hand to horror once more with House of Darkness. A play on Bram Stoker’s Dracula, House of Darkness sees a man (Justin Long) get more than he bargained for after arriving at the home of a mysterious and beautiful woman (Kate Bosworth).
House of Darkness opens with the on-screen text ‘once upon a time’. These words link back to the story’s origins whilst also helping to set it up as a cautionary tale. The text allows for the film to take a step out of reality, thereby creating a heightened tone to the world and the characters. LaBute leans heavily into the Gothic side, channelling his inner Stoker to generate a beautifully dark environment for the cast to play within. The costumes are suitably Gothic and, in Bosworth’s case, a little Hammer Horror. All the trappings work to communicate this other place, just outside of our own, paving the way for some weirdness.
A film of little action, House of Darkness is dialogue heavy. It is not, however, strictly conversational. Although the bulk of the film is told with at least two characters on screen, it is primarily Justin Long’s character, Hap, that does the talking. Hap talks so incessantly about everything and nothing that he quickly becomes irritating. As the story progresses the audience will be screaming for him to shut up. His constant need to hear the sound of his own voice is infuriating, but forms a key part of LaBute’s story. Through Hap, LaBute manifests that element of toxic masculinity that believes everyone in the world wants to hear about everything that they have ever done or thought. The exasperation felt by Bosworth’s Mina as she reluctantly listens to Hap is all too familiar.
With Hap being so annoying, it means that lines are blurred between who is prey and predator. Hap believes himself to be in control, but it’s quickly clear to everybody but him that this isn’t the case. Long’s character is so self-absorbed and unaware of the dangers he faces that it becomes amusing. Watching him verbally hang himself is entertaining if not a little draining. As Mina, Bosworth is the more interesting of the pair to observe. Though lost on Hap, Mina interacts with him in the same manner as spider and fly. There’s a silent danger to her that is masked – for Hap at least – by her overt sensuality. Mina utilises her feminine attributes to cloud and distract Hap’s mind; the viewer however, is acutely aware of her threat. House of Darkness places the viewer outside of the pair; whilst Mina watches Hap, the audience watches her. Hap of course remains oblivious to the attention. It becomes intoxicating waiting for the penny to drop for Hap, although his eventual realisation doesn’t hit the mark as satisfying as anticipated.
Mirroring the opening, House of Darkness closes with the end scrawl ‘and they all lived happily ever after’. It’s a playful note to go out on, but sadly is one that isn’t utilised enough during the film itself. There are elements of teasing and humour, but not enough to make this end card feel cohesive. An analysis of the stupidity and arrogance of some men, House of Darkness is a cautionary tale to those of that demographic. Though as the film highlights, they’ll likely ignore the warnings.
House of Darkness
Summary
House of Darkness presents an interesting analysis of toxic masculinity told through the guise of a classic Gothic horror.
House of Darkness was reviewed at Fantasia International Film Festival. House of Darkness is out in US cinemas from Friday 9th September and on Demand and Digital from 13th September. It will debut in the UK at Grimmfest.
