There is nothing to be afraid of.
Will and his new girlfriend Kira are invited to a dinner with old friends at the house of Will’s ex Eden and her new partner David. Although the evening appears to be relaxed, Will soon gets a creeping suspicion that their charming host David is up to something.
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This film was a very nice surprise for me. I didn't know much about the plot, which helped. Right from the start you are increasingly presented with atmospheric stimuli that help to increase the overall tension for the story. The photography and the sounds and the acting might seem off putting for some, but for me it all worked well together. You start to **get** what is going on and to **think** you know what is going to happen, and they make you doubt yourself... Very intense film that kept me very entertained and I highly recommend.
**Think carefully before attending your ex's party invite!** My first impression was, not another 'The Perfect Host'. And it is not, but the same category. This is a comeback film for the director after the average 'Jennifer's Body' that released half a decade ago. Some people liked it, but for me it was an average film, because I've seen the better one. Still, I appreciate the effort, like handling the narration. You know these days viewers are bit clever, they begin to predict from the early stage, so this story quite interestingly upheld the suspense. Till the final act it keeps developing, not the story or the characters wisely, but the event where the plot evolves. A at a same time it leaves behind some clues about what might come later. That part is very confusing, I did not know what to believe and what not. Because I don't want to be a fool when twist happens. This was a lot dramatised and when the crucial event comes into play, the pace increased. The first 80 per cent of the film was what I enjoyed, but the twist ruined my party and then the final scene was so smart. The best way to conclude for such a thriller. There are none tense moments, except in the final segment, but the curiosity of the event's states gets higher like particularly everybody is waiting for the twist to come. That's where some people would be disappointed. If you are not expecting too much, you would enjoy the remaining part as well. There's nothing to praise about the actors, all were just good. The script should have been a bit smarter in some parts. For one time watch it will do fine, that's what I favour. _6/10_
The Invitation incites audiences to attend the most anxiety-inducing dinner party ever. 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...
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