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It's really a film about how social expectations can confine and prevent you from calling out weird and creepy behavior for fear of being rude.

Grief. The melancholic turmoil of loss. A catalyst for unwanted prominent personality alterations that change the very fabric of who we are. Each individual experiences sorrow and subsists through a variety of different methods. Some forgive and forget. Others harness the inability to progress, experiencing a stumbling block of anguish as they continually inflict psychological suffering upon themselves. It is irrefutably the most difficult emotion to overcome, and can overwhelm the strongest of personalities. Kusama's thrilling episode of 'Come Dine With Me' gradually explores the weight of life itself, simply by allowing a group of long-time friends the chance to discuss such a topic. Yet, what enables Kusama's slow-burn thriller to elevate itself into the top echelon of effective profoundness, is its simplicity.

There are no extravagant plot devices. No sublimely utilised twists. And certainly no misplaced character conveniences. By equipping grief and depression as a manifestation of the narrative, Kusama was able to demonstrate her incredibly astute direction through natural plausibilities. Will, portrayed accurately and captivatingly by Marshall-Green, exhumed indications of paranoia. A heightened consequence of his raging anguish. Constantly questioning the actions of other characters, such as locked doors, barred windows and unknown guests, he assumes the role of the audience's perception. We, as the viewer, examine and query each character reveal and emotional complexity simultaneously to Will's interrogative persona. He, essentially, is us. Instantly allowing viewers to relate to him in this unusual circumstance.

Something is not right with this dinner party. He feels it. We feel it. But his instincts are muted by the other guests, naturally due to his heightened state of sorrow, in order to maintain a civilised appearance. That, right there, is the representation of depression. Forced to hide what we really are enduring, with despondent thoughts circling our synapses. It's abundantly intelligent on Kusama's part, who elevated the screenplay to the stratosphere of uneasy, anxiety-inducing storytelling. With the assistance of Shore's cinematography, constantly blurring the outskirts and backgrounds of frames to enhance personable abandonment and solitude, Kusama hosted one of the most engaging dinner parties I've ever attended. Inviting a naturally diverse cast of actors, ranging from different ethnicities to sexual orientation, who inhibit their own character qualities.

An array of components culminating in a third act that switches from first gear to a gear with incalculable speeds. The wine was served, my heart rate increased. I required a towel, I was sweating that much from anxiety. Ignoring the last minute of the feature, which was an eye-rolling moment to say the least, a slow-burn thriller such as this utilises a substantial amount of foreshadowing as its narrative device. Unfortunately, it is inescapable. However, Hay and Manfredi do their utmost best to keep the conversation flowing during times of prognostication. Shapiro's score is also worth mentioning for its sharp string-based chords that increase the chance of sweaty palms.

The Invitation, from the offset, is an incredibly simple thriller. Games are played, wine is served and a few arguments are bound to occur. However, if you cut through Kusama's simplistic exterior, you'll find an extraordinarily intelligent dinner party that evokes a powerful emotional connection. Just, y'know, think twice before accepting an invitation...

A powerful feature film. Despite some reminiscence (group of friends, dinner, the house atmosphere, colors) with "Coherence" is undoubtedly an original movie. A very interesting point made by the director (who had already done Girlfight and Jennifer's Body) over a possible processing of the pain of a loss, in a quite denying way, perhaps cynical, reaching extremes of aggressiveness. A lot of tension, making us doubt who you believe (or even what is real) at every step, until the crux of the matter comes; you may wait a little for that, but it's worth it. Point for the director for not using low blows. Worthwhile if you want to spend a very intense time. With regards to actors' work, "Will" comes out unscathed. "Eden" maybe a little artificial, but I think it is an intentional nuance given by the director. The rest comes off well. The screenplay is pretty good. Although it is not revolutionary, the pace is accurate, keeps the suspense, and plays with ambiguity.

Fast forward this film and just watch the last ten minutes. You'll be able to have a conversation with anyone who watched this and they won't be able to detect that you skipped ninety percent of it. Don't send a thank you card, this is a public service.

The build up and suspence was great, you can clearly feel the 'Coherence' vibes, but cliche outcome without any real resolution to the drama makes the whole thing so painfully superficial.

It's very rare lately that a thriller movie has a great ending but this movie has a great 1!! Excellent cast and excellent story it's slow button but interesting and you'll love the ending, a must see thriller!!!,

I can find a few items to nit-pick with this film, most taking part in the final stretch but overall this is a well done thriller with fine performances. Logan Marshall-Green, Tom Hardy's almost twin, who picks better roles than Hardy, holds this movie together as a grieving father attending a dinner party. One of the good points of this movie is that it starts uncomfortably and never really lets up with that tension filled mode. You'll be wondering what is going on and that's a good thing. His back-up here is a fine cast in an appropriate setting. The fact that it takes place in California makes perfect sense to those of us who don't live there and expect anyone who does to be a bit nutty. The plot has it's twists and turns and it's never boring. I'm reviewing this in 2025 and have to wonder what happened in the past 10 years that movies just aren't this good anymore.

I don´t mind the slow build-up, I think it´s justified, kind of like the calm before the storm. The problem is how much of it is wasted. We focus on the main character´s grief, which in the end isn´t that important, while the other characters are completely ignored. One tiny conversation with each one of them, that´s all we know. The girlfriend Kira literally disappears for an hour. It often feels like Will is all by himself in that house. Suspicion gets bigger but none of the guests seem to care about anything. There are some small comments, of course, but we have 5 or 6 characters devoid of any personality or will. I feel like some events could have been much stronger if those characters weren´t merely filling the space.

There are some fine things, though, I´d never wanted to punch John Carroll Lynch so hard in the face. The same goes for Lindsay Burdge.

I couldn't believe my eyes when I saw the score for this film. It doesn't do it any justice, and some of the reviews I've read here don't make valid points in my opinion. So, I felt I owed this film my own review.

First of all, the tension: man this thing has a killer build-up! You could call it slow (if you're a Transformers kind of guy), but it never gets "boring". You're on the edge of your seat from the moment the film starts, partly due to a very subtle but creepy soundtrack, which reminded me of sound effects in some of David Lynch's movies. Adding to that is the fantastic performance of Logan Marshall-Green as the tormented Will. He, and the events that follow, will keep you guessing about his mental health and whether his paranoia is justified or not, almost until the end. Michiel Huisman plays the very smooth and lulling host to great effect, and the rest of the group of friends is also very believable and natural.

THE scene (no spoilers, you'll know which one I'm talking about when you see it!) was so well done I really had the feeling I was there. It all happens so slow, so eerily apropos, and so jaw-droppingly unexpected that you really get the feeling of "oh my, that could be me out there". The little twist in the last couple of minutes is the cherry on the cake, and makes you even more uncomfortable than you already were.

This is a case of an "ignore the scores, just watch it already!" film, and I hope you enjoy it every bit as much as I did!

So I watched this movie, already kinda knowing the feel of the story but wasn't too sure of the premise. But as time progressed, it became crystal clear where this movie was going. This is the kinda of movie that really have you think that people are people, are not people, but live very dark lives, and that, nothing is as it seems. This one blew me away. Even after realizing what this film was about, I was still taken aback of how the story unfolded. This movie is definitely not for the faint of heart. For mature audiences only. Overall I love it, story, characters, even the ending took me by surprise. This is a conversation movie, you know, the kind you talk about after leaving the theater. I'll watch again, this time with friends.

The cast it's arguably good. But the film is paced so slowly that it just becomes too boring to watch and enjoy at the same time. You are waiting for the big twist of all the build up but the ending just isn't satisfying and doesn't make up for the wasted time of nothing substantial happening.

Rating: D

THE INVITATION is a tense, engaging film that seems far shorter than its 100-minute running time. After seeing ÆON FLUX, I was predisposed to watch another film directed by Karyn Kusama, and I wasn't disappointed. With THE INVITATION, she has directed a dizzying, psychological drama that is both suspenseful and thought provoking.

The disturbing atmosphere and pervasive sense of dread that are hallmarks of THE INVITATION are established early on. Will and Kira have received a formal invitation to a party at the home Will and his ex-wife formerly shared, and out of a sense of social obligation, they are attending. On the way, Will hits a coyote and has to euthanize it with a tire iron. His revulsion is a revealing introduction to his character and a heck of a way to start both a movie and an evening out. What follows is a deeply uncomfortable study in going along to get along that the viewer knows will have to end poorly.

The principal actors all proffer good performances, especially Logan Marshall-Green, who does outstanding work in the lead role. Michiel Hulsman and Tammy Blanchard, both sporting the look of crazy, expertly ramp up the ick factor as ex-wife/paramour and cult recruiters. Also noteworthy: Lindsay Burdge and John Carroll Lynch as malevolent whack jobs are slightly over the top, but they do a superb job of making you hate both their characters and cults in general, which is their raison d'etre.

While the entire cast's acting is never worse than competent, the top of the bill still compensates for lesser performances. A few of the characters have so little to do that they might as well have been absent. They're cardboard cutouts that are barely needed, even to move the narrative along. It's a flaw, but as flaws go, a minor one that doesn't confuse the story.

The plot doesn't offer many surprises; as viewers, we're kept fully informed from the beginning. When Will and Kira enter the beautiful house overlooking downtown Los Angeles, nothing feels right. When their hosts lock themselves and their guests inside with the explanation that there have been recent home invasions, we know it's creepy. The screening of a video with obvious cult overtones and an awkward "truth game" rife with overt sexual come-ons continue to ramp up the tension. As a result, Will's anxiety grows, and ours grows along with it, and while other guests dismiss Will's apprehension as the emotional machinations of a grieving father, we know something bad is going to happen.

THE INVITATION also is not without its messages, exploring societal issues Americans have been grappling with in earnest for about a decade. Is the claim of "offense" by social bullies such an overwhelming power play that people will ignore their fight or flight instincts rather than be perceived as giving it? Is the need for peer approval so strong that we will set aside our own sensitivities and allow ourselves to be coerced into compliance? Is groupthink so potent that it can compel us to act against our own better judgment and best interests, even to the point of self harm? These questions are never fully answered, but the implications are worrisome.

As Kusama continues to turn the screw and the plot lurches toward it's inevitable conclusion, we are confronted with a final twist that, while unexpected, is not particularly original. Nevertheless, loose ends are mostly tied up and you won't feel cheated, even though you'll likely have a sense all along of where the whole affair is heading.

Ultimately, THE INVITATION is an entertaining movie that, while imperfect, is a solid effort and a fine vehicle for escaping a crappy week at work. Enjoy it.

I insist.

I've read a few reviews here both for and against the film. I'm a die hard thriller fan and I thought that this film was very well done. It is slow- but why is that a bad thing?- I'm not sure. It builds to a great ending. My only meh is the actress who plays Eden. I think they could have cast her better. Other than that I'll say worth the watch if you like thrillers.

What begins as an emotional exploration of coming to terms with unbearable loss evolves into something even more decidedly dark in the psychological thriller "The Invitation".

Logan Marshall-Green ("Prometheus", "As I Lay Dying") is Will, who along with his girlfriend accepts a request to attend a dinner party hosted by his ex-wife and her new husband at the home the former spouses once used to share. The couple's devastatingly tragic past is gradually divulged, soon after which all hell breaks loose in and around the ostentatious house and grounds.

Director Karyn Kusama ("Aeon Flux", "Girlfight") deftly guides this deeply unsettling narrative toward a shift in tone that is both abrupt and startling. And her film's jaw-dropping ending delivers absolutely one of the most viciously wicked wallops you're likely to witness in any movie all year.

I'm not going to give a review of this film. I'll leave that to others who can argue whether it was worth watch or not. For me, I feel it was one of the best thrillers with a horror bent that I have seen in a long while. But here's the thing, I don't really like horror films, avoid them most of the time, unless I heard a good word of mouth from someone. That's how I found The Invitation.

After reading the reviews here, I would say the criticism falls in to two opposing camps. Those that thought it was thrilling, terrifying and well done movie and those who thought it was a waste of their time, slow and they saw all the punches coming.

I think the difference is this, the latter camp watches a lot of horror films, nothing surprises them, they are looking for all the little nuances of all the other horror movies they have watched and are comparing them to the film they are currently watching. They are two - three steps ahead of a conventional audience and thus, nothing surprises them. To these folks, I can understand why the film fell flat, it's clear if you put the movie under a microscope you can tell what's going to happen and naturally with the purposefully drawn out pace of this film, they get bored waiting for the payoff.

I, as well as the people who I have give / shown this film to, fall in to the other camp. We rarely watch films like this and therefore are willing to let it all play out without trying the guess what's going to happen next. It's certainly a creepy film and while we might imagine where it's going, we are willing to suspend our expectations and go along for the ride.

My advice, watch this if you enjoy the ride up on the climbing roller coaster without thinking about the plunge when you reach the top.

Director Karyn Kusama speaks volumes in what appears to be the slowest story I have ever seen. I didn't realize until Act 3, but the slow and personal story being told has a purpose. Logan Marshall-Green's performance was convincing, and ultimately caused me to be lulled into an incorrect prediction of the final act. This is a horror film with no jump scares or horrifying imagery, so not a terrible one to pull out with a queasy friend!

This film tells the story of a couple who is invited to a dinner party at a friend's place. They arrive, expecting a reunion of friends, only to find awkward and strange events in the party.

The social interaction in the party is certainly very awkward, and the awkwardness lasts for far too long for me to enjoy the film. After an hour into the story, finally there's something to see. Unfortunately the events happen fast and in darkness, there are times when  I can hardly figure out what is happening. This is a pity, as the story could have been thrilling and mysterious. It seems many people like this film, but I'm not feeling it.