David Bruckner who rose to some prominence through his work on the anthology short collections V/H/S and cult darling Southbound returns with his sophomore feature follow up to 2017’s The Ritual with The Night House. He taps Rebecca Hall to play Beth whose husband Owen (Evan Jonigkeit) recently passed away, but the home he built for her remains. And as she haunts it, it seems something may be in the house alongside her.
The Night House has many of the fanciful tropes of the genre at work, but none feel too out of place. You’ve got your mysterious husband who’s died before we enter. His possibly labyrinthine lakeside home left in his wake. Walls of books of mysterious origin. And of course a crucial neighbor character. These each on their own might induce an eye roll. But their cohesive presentation alongside Bruckner’s dexterous tone management keep The Night House engaging.
Elisha Christian serves as cinematographer, his camera sweeps as it did in Columbus along the facade of the titular building, it’s interior, and the very landscape that it bejewels. Alternating between an icy look at the world and a less maudlin style when the sun graces the sky. The claustrophobic interiors when the night comes on are when both film and lenscraft soar. The camera movement frequent but unjerking. Often one step ahead as Beth roams her way up and down the stairs, sidling through rooms, and ever returning back to a well stocked cardboard box of brandy.
Hall returns to the heights of her abilities and reintroduces us to her acerbic wit and straightforward emotionality in her best performance since Christine (though Professor Marston & the Wonder Women is up there.). There seems to be someone or something in the house alongside her, and as we saw in 2020’s The Invisible Man, when you give an incredibly talented actress the opportunity they can spur you alongside quality direction into a deeply emotional experience of thrills and chills even when what may or may not be there remains unscene. Sarah Goldberg (who you hopefully know and love from the HBO Series Barry) plays Claire whose entire job as constructed by the screenwriters is to ground Beth as a typical best friend character. Which isn’t really a bad thing, but frustrating if you like me are a fan and want to see her with more to do.
In order to avoid giving anything significant away that would dampen a first time viewers experience I’ll dance around a few of the major plot points and speak broadly. As noted by a fellow theater goer on our way out of the theater, there’s more than a few lapses in judgement here that are hard to buy into from Hall’s Beth. She’s demonstrated herself a strong, intelligent, and capable woman. It’s hard to believe everything she has to sell us on, and the ending despite the films strong build is a weak sigh. Unwilling to face any of the demons metaphorically or in reality that have churned up during the runtime. The Night House closes with a whimper not a bang. Despite that I’d still recommend it. The first viewing of films like these are thrilling, one that any fledgling or bonafide horror and thriller fan could enjoy.
In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. Buckle up for some hot takes (mostly, that Iron Man 3 rocks).
75/100
“You know who I am.”
That’s the refrain that constantly dogs Iron Man 3: it’s written glibly by Tony Stark on a nametag in 1999, said by him in the voiceover that frames the film, broadcast by the supposed Mandarin as he threatens more terrorist attacks. And, of course, three movies in, we do know Robert Downey Jr.’s Iron Man, and so does everyone else, from kids in a restaurant to a local news cameraman. He’s an even greater celebrity than he was in his pre-Iron Man days: he was the hero in The Avengers’ Battle of New York, after all. He’s the biggest box office draw since the Skywalkers, the best thing since sliced bread. Everyone knows Iron Man, whether you’re a citizen in the MCU’s world or our very own flesh and blood reality.
“You know who I am,” but this movie spends most of its runtime challenging that. We know Iron Man, but what of Tony, when you strip him down to his bare essentials? Who does he become? That’s the question at the heart of Iron Man 3, tackled in its own superhero movie way. Another question haunting the movie: how do you follow The Avengers, a movie that—like it or not—forever changed the cultural landscape? (Or, at the very least, altered for quite some time.) The door has been blown open in the cultural consciousness, and also in the MCU, where the populace has been rudely exposed to aliens and a god flying around with a hammer. Iron Man 3 addresses all these questions by, well, mostly ignoring them. The Avengers went big, so this goes small. Of course, there are superheroes beating up bad guys and plenty of cheap tricks and cheesy one-liners (“Sweetheart, that could be the name of my autobiography,” as Tony says), but our titular hero spends most of this movie without his armor and without a superhero team to back him up.
On the one hand, this is where the interconnected nature of the MCU starts to first show some of its fundamental flaws: logistically, not every superhero actor can show up in every movie. But if Tony is dealing with a terrorist threat, why don’t the other members of the Avengers show up? Where is Captain America, who could help? Thor, Hulk, Black Widow, Hawkeye? On the other hand, isolating Tony from his super friends and even his own suit makes for a better movie, one more interested in Tony than his other metal persona (though if you want to see Iron Man blow stuff up, there’s plenty of that, too).
Of course, Iron Man 3 doesn’t start with Tony separated from his suit, but just the opposite: since the events of The Avengers (where, to remind you, aliens came out of a wormhole in the sky and New York would have gotten nuked if Tony hadn’t made the sacrifice play and flown said nuke through said wormhole), Tony has been driven even deeper into his obsessive tendencies and holes himself up in his workshop, making new suits and avoiding sleep. Pepper (Gwyneth Paltrow) is at the end of her rope as she watches Tony circle the drain of self-destruction again, a different kind of destruction than Iron Man 2 but destruction nonetheless. Tony’s not sleeping, he’s having anxiety attacks at the mere mention of New York, he inadvertently sics a suit on Pepper. Things aren’t going great.
Tony’s declining mental state isn’t helped by the terrorist attacks going on lately, apparently carried out by a man styling himself as “The Mandarin” (Ben Kingsley), who sounds like John Goodman and Mick Rory had a child. Tony’s buddy Rhodey (Don Cheadle) gets rebranded as Iron Patriot, his own suit getting a nice new paint job to rally our crestfallen American spirits, and Tony stays to the sidelines: “It’s American business,” Rhodey tells him, though seeing as all our superheroes seem to have originated from or at least allied with America, the division between superhero business and American business is faint at best. Marvel doesn’t ever address this except obliquely, leaving any commentary on American exceptionalism to things like Watchmen and The Boys—which is probably for the best, considering Marvel’s lack of subtlety. (Though I don’t think anyone would call The Boys subtle…)
Regardless, Tony leaves this particular issue to the US military until former bodyguard/current head of security for Stark Industries and Downton Abbey fan Happy Hogan (Jon Favreau, no longer in the director’s chair but still producing) gets caught up in this plot and injured. Then it becomes personal: Tony provokes the Mandarin, the Mandarin’s people destroy Tony’s house, and Tony, presumed dead, ends up in Tennessee with a broken suit.
This would-be tale of woe is offset by a) the fact that this is a Marvel movie, so it’s probably not going to be too much of a downer, and b) writer and director Shane Black’s comedic sensibilities. (The movie is also set at Christmastime, a period that Black is rather fond of.) It’s got quips and banter for days, but they have a bit of a rougher edge to it than most MCU entries: upon landing in Tennessee, Tony meets precocious child Harley Keener (Ty Simpkins); upon learning that Harley’s dad left the family six years ago, Tony replies, “Dads leave. No need to be a pussy about it.”
For a big superhero movie, it seems odd that the best scenes would be set in the middle of nowhere in Tennessee, but Harley and Tony make for a great comedic duo as Tony tries to sniff out the Mandarin’s origins. Kids can certainly be a hindrance in films and tend to be cloying and/or annoying, but Shane Black eschews those pitfalls (as he does in The Nice Guys) and makes Harley endearing more than anything else, his clear-eyed optimism a good foil for Tony’s snark and cynicism.
Tony eventually connects the Mandarin plot back to businessman Aldrich Killian (Guy Pearce), whom Tony had rebuffed at a New Year’s party back in 1999, giving Killian a thirst for revenge and power. Killian, it turns out, created the character of “The Mandarin” and hired actor Trevor Slattery to portray him; the Mandarin conveniently serves as a scapegoat for the explosions Killian’s experiments with the regenerative drug Extremis causes. (The fact that most of these explosions are caused by disabled veterans who volunteered for this drug in order to regrow a limb is largely ignored, though it presents a potentially intriguing take on our treatment of veterans. However, the movie opts to sidestep this entirely by not addressing it.)
The villains of Iron Man 3 are, to put it lightly, controversial. The Mandarin twist—where the imposing terrorist figure is an actor, and the real villain is the corporate suit—has continued to be a sore spot for fans, largely those already familiar with Marvel comics, who complain that Iron Man 3 wasted an iconic villain, that the twist was juvenile, that it was an insult to the fans, etc. However, the Mandarin of the comics that fans were apparently foaming at the mouth to see has a rather sticky legacy, as the original Fu Manchu-type character plays on ideas of yellow peril; this solution neatly avoids those issues—or perhaps it lampshades them, seeing as Killian purposely orchestrates the Mandarin’s appearance to prey on fear of a vague Middle Eastern “other.” As he says, “Ever since that big dude with the hammer fell out of the sky, subtlety has kind of had its day.” Killian aiming to rile up the military-industrial complex by manipulating Western iconography and conjuring imagined, otherized threats dressed in non-Western clothing all so he can fill his own coffers is far more interesting than a character whose origins are rooted in actual racist caricatures.
Unfortunately, Killian himself, though played with a sinister suaveness by Pearce, is a bit too thinly sketched to handle the weight the Mandarin twist dumps on him. Had Killian’s motivations been more fleshed out, or his threat greater than breathing fire (yes, that happens), the twist might have been better received even by the comic fanboys. (Pepper, it should be noted, is the one to land the final blow on Killian, taking her revenge on him for nonconsensually injecting her with dangerous drugs. This marks the third Iron Man villain Pepper has dispatched: she was the one who powers up the arc reactor that killed Obadiah Stane in Iron Man, alerts the authorities to Justin Hammer’s illegal tendencies in Iron Man 2, and here directly kills Killian. Don’t get on her bad side.)
Initially, Killian wasn’t even the main villain: that task instead fell to Rebecca Hall, though whether Hall’s character was a female version of Killian or the character she would go on to play, Maya Hansen, remains unclear. However, this was nixed when a call from Marvel corporate came and informed Shane Black that a female villain wouldn’t sell toys, and therefore the villain had to be a man.
While Black says he doesn’t know who exactly placed the order, common speculation lands the blame at Ike Perlmutter’s feet. Perlmutter’s storied history with Marvel includes claiming that all Black people look alike and pushing back against the characters of Black Panther and Captain Marvel, so while this is all speculation, it doesn’t seem like a big leap to blame Perlmutter, at least in some capacity; in fact, Perlmutter is known to have limited Black Widow action figures for the same reason. (Black Panther and Captain Marvel would only get made after Perlmutter had been pushed away from Marvel Studios.) Rebecca Hall has voiced frustration at last minute changes to her character that made Maya little more than a footnote in the film, and given Killian’s just-okay-ness as a villain, more Maya could have been a welcome addition.
But a villain change isn’t the only alteration made to Iron Man 3 to appease investors and audiences (though, for the record, changing a villain’s gender because of toy sales is both frustrating and imbecilic). A different version of Iron Man 3 played in China, featuring Chinese actors Fan Bingbing and Xuqei Wang (only the latter appears in the film outside of China), though the added scenes largely serve as product placement. Apparently, there were even discussions around making Harley Chinese to flatter Xi Jinping. More diversity, especially within Marvel, is always welcome, but perhaps it’s better to have diversity to more accurately represent our current world rather than solely to appease a, uh, problematic figure, to say the least. Marvel has consistently courted China’s market in such a way that their films suffer for it, from Iron Man 3 to Doctor Strange, where Tilda Swinton was cast as the Ancient One, typically portrayed as Tibetan, so as not to ruffle any Chinese feathers.
Interestingly, Marvel’s upcoming Shang-Chi and the Legend of the Ten Rings, ostensibly a win for the China market as it features Chinese actors and is at least partially set within China, has received pushback for everything ranging from accusations of stereotyping to star Simu Liu not being attractive enough by Chinese standards, with some claiming that he looks too Western. (Liu was born in China but raised in Canada.) Director Chloé Zhao’s upcoming Eternals also faces an uphill battle, with Zhao’s critical comments on China (where she was born) potentially haunting her box office. Whether Marvel will take these setbacks in stride or try once more to appease remains to be seen.
Even with all this drama behind the camera, Iron Man 3’s finished product remains the best Iron Man film, even if it is a bit uneven. (Come for me with pitchforks, I beg you.) While at the time the first Iron Man was a fresh phenomenon, its novelty wears off after 20-plus similar films; Iron Man 3’s character-driven focus (character-driven for a big superhero movie, I should amend) gives it an edge over its predecessor; now that Tony has been established, the films can get meatier. Giving Tony PTSD and anxiety from the Battle of New York undercuts all Tony’s fake swagger, the persona that he crafts around himself like his suits; we are reminded that he is, at his core, painfully human, even if he is a superhero. When Harley asks for Tony’s name, he simply says, “The mechanic. Tony.” No big press conferences, no Stark Expo, just a mechanic trying to build things, trying to fix things. One of the best scenes comes from Tony assembling a prototype Iron Man repulsor from various items at a hardware store, fashioning everyday objects into something better. He doesn’t need the suit to be Iron Man.
Too bad Joss Whedon will toss much of this characterization out of the window in Avengers: Age of Ultron (more on that later), but that’s the thing with comic books and their adaptations: they’re all about what Stan Lee called “the illusion of change.” Robert Downey Jr. was still game for more films, so Tony has to bring his suits back. Still, Iron Man 3 remains perhaps the most pivotal movie for Tony’s journey and certainly the one that best defines his character, and that vaults it above its peers (as does the post-credits scene, because it’s just fun).
Oh, sure, there’s an argument to be made about the problems of latching onto a certain character at the expense of the rest of the film, and how that drags us a bit too close to the hideously toxic world of stan culture. There’s no doubt that Iron Man 3 zigs and zags a bit, but in a cinematic universe where every film ends with some big bad evil guy fight scenes, it’s the smaller moments that make something stand out, and that’s what puts Iron Man 3 above its fellows, if only slightly.
Groundwork: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:
The response to the Mandarin twist was bad enough that Marvel made a short in 2014, All Hail the King, which had Trevor Slattery taken by a “real” member of the Ten Rings who threatened to bring him to the “real” Mandarin. (Cowing to angry fans almost never works out, and while the short is fun, its existence is, well, stupid.) The Ten Rings and the “real” Mandarin, this time played by Tony Leung, will (re)appear in Shang-Chi and the Legend of the Ten Rings.
This marks the first verbal mention of Roxxon in the MCU. In the comics, Roxxon Corporation is a nefarious oil company that’s usually up to no good. In the MCU, its logo was shown in Iron Man and Iron Man 2; it doesn’t get namedropped until here. It’s mentioned in Agent Carter, Agents of S.H.I.E.L.D., Daredevil and other members of Marvel’s now-apparently-forgotten non-Disney+ TV legacy. Roxxcart, presumably an offshoot of Roxxon, appears in the Disney+ show Loki.
Extremis is used in Agents of S.H.I.E.L.D., most notably on Bill Paxton’s John Garrett.
Not groundwork, but there was a lot of speculation that Harley would go on to become Iron Lad; this hasn’t happened yet, but his appearance at Tony’s funeral in Endgame at least proved Marvel hasn’t completely forgotten about him. We can pretty safely rule out Iron Lad, however, seeing as Iron Lad is actually a young version of Kang the Conqueror, and Jonathan Majors plays Kang, who (spoilers?) first appears in Loki.
Anna’s Favorite Scene: Tony has a panic attack on the side of the road and Harley has to bring him back down to earth. “You’re a mechanic, right? Why don’t you just build something?” Great acting, great character work, great scene.
Explores more facets of life within its specific milieu in a swift ninety minutes than most films do in over two hours, and without any idea or character forcibly shoehorned in. Is at its best though when it’s looking at middle-class guilt through Kate (Keener, always wonderful), whose emergent conscience about running a second-hand furniture business that benefits when people die prompts her to volunteer and give to the homeless as means of redemption. Two highlights here: her trip to a facility for the elderly (“She’s really hunched”, Kate says concernedly as a woman shuffles by), and her crying when she volunteers with the disabled (“Uh, you should go”, says her supervisor, embarrassed as Kate starts tearing up). Holofcener finds the humor in both scenarios without being condescending.
I can’t help but also call out my two grumbles: Kate’s trip to her competitor’s store, where a fellow patron’s talk about furniture “having ghosts” unnecessarily verbalizes an idea Holofcener already sufficiently implied, and Kate later envisioning a dead woman sitting in a chair across from her, which undercuts the power of the preceding shot of the chair empty, weighed down by the absence of the woman who died in it.
Mortality isn’t in every plot strand, but it does seem to weave its way through the movie’s periphery by implication, and occasionally comes to the fore. Everyone’s talking about going upstate to see the Fall leaves, beautiful as they die, Rebecca Hall’s character’s job as an assistant radiologist involves testing patients for a deadly disease, Kate and Alex’s economic future hinges on the inevitability of people dying and their furniture moving on. That the movie is so light on its feet and digestible as it alludes to the most profound aspects of human experience is remarkable.
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Drink in the Movies 