O Convite

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.

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...

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!

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.

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.