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#52filmsbywomen 20 – The Invitation

Posted on: October 16, 2016

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No. 20 – The Invitation (Karyn Kusama, 2015)

I find it very difficult to write about things I love. My passion is very ineloquent. I want to be expressive and enthusiastic, but instead it becomes a dull stream of “that was good, that was good too, it was really good.” On that note, please anticipate next week’s film, which I love love LOVED. Now, onto this. Writing about things you didn’t like is far easier.

Karyn Kusama is a very good filmmaker. Girlfight got excellent notices and Jennifer’s Body is hugely underrated. I wish I had watched Girlfight for the first time, or Jennifer’s Body again. But I didn’t. I watched The Invitation. The Invitation is not a very good film. And I really wanted to like it. It had a lot of potential, and it also had Emayatzy Corinealdi, so luminous in Middle Of Nowhere. And I love films about cults, which I understood this to be from the synopsis, though the film seemed to forget it from time to time. We are very forgiving to low budget films starring non-professional actors with people working together, trying their best with limited resources and still making a pile of shit. When a bunch of experienced LA-based movie professionals do the same and fumble so badly, it’s frustrating. So I’m not feeling particularly charitable.

Logan Marshall-Green as Will, looking like Tom Hardy in Khal Drogo cosplay, drives his new girlfriend, Emayatzy Corineald as Kira, who will have no lines until the last 15 minutes, to dinner with his ex-wife Eden and other friends. On their way, they hit a coyote which Will must then euthanize (with a tyre hammer). (Incidentally, this blog post is dedicated to all the wild animals who are hit by cars in films to make a strained metaphor about the driver being like a lamb to the slaughter.) Eden and Will separated after the death of their young son, and Eden has turned to a vague, new-agey movement called The Invitation to help her through her grief, guided by her new partner David. Will is suspicious of the group and their unsubtle attempts to recruit the rest of the guests, and while initially his friends are embarrassed by his hostility, his suspicions about their nefarious purpose is proven correct.

Will has an almost preternatural sense for danger – insisting on walking one departing guest to her car to ensure her escape, arguing about Eden and David locking them in for safety, intuiting their drinks have been poisoned. The film initially does a reasonable job of making his caution seem like paranoia, but the film is too dry for it to be effective. There are too many characters that we struggle to differentiate so it’s hard to understand who’s on Will’s side, who’s angry, who’s a stranger. Lines seem randomly allocated with no thought to vérité or character – one character says he knows a lot of people who’ve done The Invitation, then a few minutes later asks for more information like he’s never heard of it. Tommy and Miguel transpire to be partners, though this isn’t obvious until close to the end of the film. Most of the characters are basically incidental, which is good because none of them stand out in any way, apart from Michelle Krusaic’s Gina who makes a valiant effort to inject some personality into her character. (There’s an examination to be made of Hollywood’s Asian female actresses, who will at some point all play characters called Gina, Amy and May, because creativity is dead.) Gina’s boyfriend, Choi, begins essentially as Poochie from The Simpsons – whenever Choi isn’t on screen, the other characters are constantly asking “where’s Choi?”, building up masses of intrigue about this character who, when he arrives, is…just another guy.

It’s strange looking back at the film. When considering the plot and various elements, it sounds so promising. There are elements that sound so strong as concepts but in practise fall flat – Will and Eden’s bereavement is more meandering melancholy than relevant to the story, intriguing as the idea of the death of a child driving a mother to a manipulative cult may be. The appearance of a mysterious group at the door suggests an interesting sideplot that ties into the (weak) end twist, but the film ends up retaining focus on our dull bourgeois dinner party. There’s huge potential for a horror film based around the cult of wellness and mindfulness, and Karyn Kusama could well be the director to make it. But the script, so first draft-y and, well, basic, gives the film such weak foundations that the rest of the production struggles to overcome it. Just when things look like they might get interesting, the whole things deflates again. It confuses long stretches of repeating ideas and people making small talk for building tension. The last thirty minutes, where action starts happening, displays Kusama’s skill as a director, but the effect is diminished because of what has gone before. One of the significant players is a character we know nothing about and I had forgotten existed, and the villains are so irritating that by the time they start being threatening, they’ve lost their sense of danger. It’s not that the film is bad, per se. Lots of films are bad, and continue to be extremely entertaining. The Invitation is boring, which is unforgivable. Top tip: watch Jennifer’s Body instead.

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