Julian Sands plays Steven Essex, the CEO of a major corporation and a total prick. In the vein of characters like Kevin Spacey’s from “Swimming with Sharks,” Essex is the kind of monster who forces his underlings to work late, berates them constantly, and then tells them at the last minute that there will be no Christmas bonuses this year. Ted (Kyle Howard) works for the awful Essex, and has just about had it, as evidenced by the opening scene in which he smashes the bathroom mirror with the boss’ overpriced golf clubs. And then Essex throws him what appears to be a life preserver. There won’t be bonuses, but there may be a new position created. He wants Ted and his wife Tatum (Angela Sarafyan) to come to his mansion that night for a gathering.
When Ted arrives, expecting a party, he’s stunned to discover that the only other couple there is his office rival Gavin (Dustin Milligan) and his wife Missy (Natalie Hall). Gavin is everything Ted is not—grotesquely eager to step on those around him to climb the corporate ladder. And Missy is the anti-Tatum, obsessed with her looks and the toys of the good life more than anything of real value. Rounding out this evening of entertainment is Steve’s tempestuous wife Kiwi (Molly Hagan), the Lady Macbeth who seems to enjoy pushing the buttons of her husband’s employees more than her husband. Soon, the two couples will learn that tonight’s event is more than a party or a discussion—there’s one position and two employees. How far would you go for a life-changing job?
A lot of the “Into the Dark” films have been single-setting affairs—it keeps the budget low—but this is one of the best yet in terms of use of space. Hood uses the Essex mansion brilliantly, keeping its secrets hidden and utilizing its opulence almost as a weapon. Of course, the Essexes would develop insane games to keep themselves entertained—when you have everything, you have to get creative. There’s also a fascinating subtext about how far people go in the real world to get ahead. Without spoiling anything, there are moments when Ted and Gavin have to face covering up serious crimes. Before asking yourself if that stretches believability, consider how many executives have covered up corporate crimes to protect their paychecks. And yet Hood and his writer Paul Soter never let the commentary on economic inequality or corporate malfeasance dominate the film. It’s just a rich subtext that adds to the overall enjoyment.
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