2015 Directed by Karyn Kusama
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.
Martha Griffin Phil Hay Matt Manfredi Nick Spicer Dan Cogan Julie Parker Benello Wendy Ettinger Geralyn White Dreyfous
My wife and I got a diner party invitation to one of her co-workers place in the next few weeks. We are not Fucking going!!
undeniably tense as fuck, Kusama works wonder on a tiny budget and also there's Lindsay Burdge, but this is the latest in a long line of kinda cheap / formally excellent domestic horror stories that feel content to be genre exercises, and deny themselves the opportunity to become more than that. it's a hell of a ride, but it's all surface... it's all putting the right beats in the right places... it works, but it might work too hard.
"... that was mercy"
the destructive, wavelike nature of grief as a communal experience that permeates every space we occupy, every movement we make & every interaction we have. kusama's formal grace is the obvious star here, the masterful staging, gestures & spatial awareness she shows off in particular, but as the film goes on & the screws tighten agonizingly slowly all the way until its haunting final image, kusama achieves something far beyond form -- her genre thrills deeply woven with a sense of the pervading, inescapable pain that, whether we're struggling to remember or forget, can blind us as easily as it brings us together.
So here's the thing.
Foreshadowing is a powerful storytelling tool if used correctly. It can give you a feeling of unease in a story that conveys a sense of normalcy. Without being able to put your finger on it, you get the sensation something is off, making you feel tense without knowing why.
The Invitation gets this. For about ten minutes. What remains is 60 minutes of foreshadowing with bits of story and character development in between. It lacks any and all subtlety. The main character literally keeps telling everyone something is wrong for two thirds of the film.
We get it. You're leading up to something.
I love slow burn thrillers. I love films that start out normal and…
88/100
A story of distance fed through the impenetrable barrier of grief. LA is seen as a glowing mirage within a hazy landscape, and the hills appear seductive, even flirtatious, in the face of looming modernity. It is where the damaged and the fearful, the deranged and the affected choose to reside, literal detachment encasing their unease. Karyn Kusama builds an entire universe - people as planets and spaces as mysterious areas of darkness and unknown conversations - so that the eventual horror unravels organically, all a singular puzzle although each piece is utterly fractured. And Will - played by a terrific Logan Marshall Green - is the audience surrogate, spinning around uncertain friends and foes in a woozy state,…
When you first see The Invitation under Netflix's horror category, you think "Oh, another low budget boring horror movie. At least it will make nice background noise while you're playing Smash Ultimate." But you keep looking away from your Switch as the movie keeps going, and you become lost in a dinner party that never seems quite right. The director does a good job of capturing the awkwardness of a dinner party, but then becomes something more as the hosts' behavior turns more and more strange.
All of the characters feel like real characters, which is great. It's shot beautifully, and even the flashbacks don't annoy me like they usually do in other horror movies. The pacing is great also. Honestly, if you just want a great late night flick, watch this.
A slow, slow burn toward an already expected ending. The absolute final scene managed to make it up to me.
Oh my fucking God!!! I love horror films, and this was such a ride. It's also a very personal story. It's like we can feel the tension building up from scene 1 and certain scenes oh my gosh, it's just like a balloon waiting to burst. Everything was brilliant. Like one of the lines in the film "feels very Mansonish". Logan Marshall is so fucking great, he always reminds me of Tom Hardy in a way. Even the background score is brilliant.
And the ending just felt like the ending of Fight Club( I won't say more).
One fucked up Dinner Party.
Hungkat 196 films
Yea, reeling stuff. This is not necessarily about movies having the best endings but these are the ones that leave…
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