Jules and Margot struggle to try escaping No-End House for good. And John is very, very hungry.
Margot keeps trying to figure out her father. Lacey is caught between two husbands. Jules dreams of her sister.
After believing they've left the No-End House, Margot & her friends realise they may never have left.
A young girl loses her father. Then, she discovers the No-End House, a place where your deepest fears lurk.
The Invitation. 2015. Directed by Karyn Kusama. Screenplay by Phil Hay & Matt Manfredi.
Starring Logan Marshall-Green, Emayatzy Corinealdi, Aiden Lovekamp, Michelle Krusiec, Mike Doyle, Jordi Vilasuso, Jay Larson, Marieh Delfino, Tammy Blanchard, Michael Huisman, Lindsay Burdge, John Carroll Lynch, Toby Huss, Danielle Camastra, Trish Gates, & Karl Yune. Gamechanger Films/Lege Artis/XYZ Films.
Unrated. 100 minutes.
I’ve long said a film can survive on atmosphere alone sometimes. Not that a movie can be perfect without story or plot, but I can love a piece of cinema for its mood and its tone above other elements. But what happens when you’ve got a strong, palpable atmosphere that deals in the strongest sort of psychological horror combined with a mysterious and thrilling drama? The Invitation from director Karyn Kusama is what happens.
Using some character actors who are off the beaten path, such as the fabulous John Carroll Lynch and Logan Marshall-Green, as well as a very interesting perspective in a screenplay from Phil Hay and Matt Manfredi, the quiet, at times frightening thrills of this film are well-honed. This film has the right looks, the right feel, and the performances pull its effectiveness wire-tight across the throat, never letting go until the last frame. In a new Golden Age of horror that’s seeing indie film lead the charge towards better stories, better production, more focus on smart writing and practical effects rather than CGI and half-assed screenplays, The Invitation is another welcome addition to my favourite films since 2000.
Will (Logan Marshall-Green) is heading to a dinner party with his girlfriend Kira (Emayatzy Corinealdi). They’ve been invited by his ex-wife Eden (Tammy Blanchard) and her new husband David (Michiel Huisman). Many tensions surround Will; not only is it the first time in a couple years he’s seen Eden, the party is in the former home which they shared.
Once there, Will starts to question exactly what is is that brought them there for the party. As the night wears on he begins wondering if Eden and David have some other intentions for gathering their former group of friends together. Some leftover trauma lingers over Will from the life he had with his ex-wife. At the same time, Eden seems to have moved on. She and David belong to some type of cult, a supposed self-help-styled community. And a little way in the evening descends into something much more wild than any of the guests ever expected.
But is it real? Or is Will just losing his mind?
The mystery of the screenplay works wonders. Slight bits and pieces of the backstory to these characters trickles out. As the scenes move forward, the characters develop through a solid pace. Some of the best parts of The Invitation have to do with the thin line it treads, tightrope walking between excitement and subtle creepiness. I dig slow burn stories, as long as they’re done properly. At the same time, when a plot moves from steady to thrilling this makes things all the much better. Kusama weaves the story from start to finish with an underlying tension, a pulse-thumping dread that nearly rattles the bones, so that once the plot breaks out full force you want to grind your teeth down to the jaw.
Part of the wonderfully effective atmosphere comes from the haunting, rhythmic, ghostly score that adorns the movie. Surprisingly, Theodore Shapiro has mostly done a lot of comedies, from Old School to more recent stuff with Paul Feig. Yet here he perfectly adds such a paranoid edge to many of the scenes with his score. It oozes out from the edges and scoops you up, pulling you in, getting under your skin. This works well in addition with cinematographer Bobby Shore’s shadowy work. Much of the film is cast in a great deal of dark, naturally lit spaces, from the living room to hallways to the candle-lit table at dinner. Shore hasn’t done a ton of notable work, but the camera here captures everything so flawlessly it is hard to believe he isn’t doing more films of this caliber. Between Shore and Shapiro’s score, these elements make The Invitation suspicious, filled with paranoid moments, it never lets you move back from the edge of your seat. And above all, these aspects together with the screenplay make for a story that will keep you guessing, one moment to the next.
There are a handful of good performances here. Everyone in the core group of friends does a nice job. Further than that, the central role of Will is perfect in the hands of Logan Marshall-Green. He’s played some great characters, from his turn in Prometheus to his portrayal of Jewel Bundren in James Franco’s film adaptation of As I Lay Dying. This role requires him, along with the screenplay, to keep us guessing. The paranoia of his character is almost evident from the very beginning. His emotion, his range and subtle acting all make Will a raw, honest, even sometimes uncomfortable character.
Added to Marshall-Green, the casting of John Carroll Lynch was a solid choice. He is a character actor that can bring to life many different types, from gentle sort of people like his character from Fargo to the disturbed maniac like his Twisty the Clown from American Horror Story: Freak Show. His character in this film, a man named Pruitt also involved in the cult of which David and Eden are a part, adds an extra layer of mystery and paranoia. He is an outside force, independent of the original group of friends, and that very fact puts him on the periphery of the group. So with his unnervingly calm performance, particularly in the first half of the film, Lynch adds more tension and suspense to chew on. He keeps things off-balance much like the screenplay as a whole.
The film’s finale still has me reeling. Even if the lead-up were mediocre, which it was not – it was almost pitch perect – the last twenty minutes of The Invitation make this into a horrifying, reality-driven thriller. And it just may take your breath away. Part of the impact comes from the inability to completely guess what will happen next. However, a large portion, again, is the atmosphere. Karyn Kusama can now be considered a master o suspense, as the story sucked me into its black hole then completely chewed me up in the final act. This is another movie that, as of late, has been subject of huge hype. For good reason, too. Go into this knowing as little as you can about the actual plot. This will make for an even more deafening blow to your psyche once the movie takes hold.
Before Morgan found Rick again, he met an interesting man called Eastman.
FX’s American Horror Story
Season 5, Episode 4: “Devil’s Night”
Directed by Loni Peristere
Written by Jennifer Salt
* For a review of the previous episode, “Mommy” – click here
* For a review of the next episode, “Room Service” – click here
Once more, another night at the Hotel Cortez – “Devil’s Night”, in fact.
In strolls Richard Ramirez (Anthony Ruivivar) for a stay. Apparently this is his third year back since perishing. Looks as if we’re going to have a savage night, aren’t we? He pops into the room of some guests and bashes in the man’s skull with a lamp. He asks the woman to “swear to Satan” she’ll be quiet, but of course that doesn’t work. A bit of cat-and-mouse until ole James March (Evan Peters) appears at the end of the hallway…
A nice slick opening sets up an obviously entertaining night ahead, especially for Detective John Lowe (Wes Bentley) who is still staying at the Cortez. A hotel full of dead serial killers on the move? Should get wild.
When Lowe wakes up for the day he talks with his daughter Scarlett (Shree Crooks). It seems as if there’s a bit of a divide now starting to creep between John and his family. He’s not quite right. Doesn’t help when he starts seeing a massive pool of blood forming on the ceiling, dripping down his wall.
Better yet, we get a look at the story of Miss Evers (Mare Winningham) – back in 1925, she seems quite the prissy, uptight mother. Her child is dressed up as the typical bedsheet-eye holed ghost. After taking time to blab on with some other woman, a man abducts the little ghost and speeds away. WHOA. That’s already disturbing enough, who knows what happens from there.
Zipping back to the present, Miss Evers has a bunch of bloody sheets in the bathroom trying to get the stains out, as usual. Lowe, bleary eyed and sort of ghostly looking himself, wonders what’s going on around the hotel. She’s only a blubbering mess, but he understands. They’ve both lost children.
The ghost was taken to a ranch and caged up, poor kid. Another snippet of true American Horror – the Wineville Chicken Coop Murders – plays the backdrop for Miss Evers and her personal story. A pretty horrifying story for her. Still I’m super intrigued to see how she actually ended up at the Cortez, as well as how she and Lowe will interact more given their similar loss of young children.
John’s wife, Alex (Chloë Sevigny) has brought little Holden (Lennon Henry) home from the hotel and its weird rooms, the glass coffins. She’s glad to have him. Examining him a little, finding his temperature to be very low, things are definitely in a lull before terror strikes. Holden tells mommy he’s thirsty, but is it juice he wants? Alex pours her son a big glass. I’m pretty sure he’d rather have a nice drink of blood, though. When she goes back in with the orange juice, he’s sinking teeth into the family dog and having a snack. He wants his other mommy, not Alex.
Poor John. Man, oh, man. He is being put through the ringer. His mental state keeps slipping, as he goes back to bring up the police files on Miss Evers’ story, only to discover it happened 85 years prior. I’m just waiting for something harsh to happen with him. I don’t want it to, just have the sneaking suspicion Lowe will fall further down the rabbit hole.
Alex goes back to the Cortez, where Holden giddily climbs into his coffin. The Countess (Lady Gaga) slips in unnoticed, only to invite Alex upstairs for a chat. We get a flashback to Holden’s disappearance – The Countess was standing nearby, watching them. Terrifying moment where we see her walking away with Holden and John screams out for his son. Even more terrifying is a subtle moment: Alex pulls a gun and holds it at the Countess, who only leans back in her chair, without words saying “Fuck you and your gun”. Just a real solid moment.
Love, love, love more Liz Taylor (Denis O’Hare)! She serves Lowe a bit of soda, as John decides: “I‘ll have a double martini.”
“Control is an illusion”
“Tonight I surrender to the illusion”
But glory glory hallelujah, Lily Rabe is back at the bar – literally – as Aileen Wuornos. She’s on her thirteenth year at the Cortez, dead since 2002. MY GOD, Rabe is a constantly amazing piece of work! Here, Wuornos sits down with Lowe for a drink. They have a bit of casual chit chat. Rabe is fucking incredible, she doesn’t copy Charlize Theron’s performance, but absolutely embodies Wuornos. For anyone who has ever seen the two documentaries about Eileen by filmmaker Nick Broomfield, you just can’t deny Lily Rabe rocks this role out of the park. The body movements, the look, the inflections in her speech and tiny idiosyncrasies about the way she performs… it’s perfect for this episode! Ruivivar did well with Ramirez, I dug that too. But Rabe is worth the price of admission this week. So great she’s back on American Horror Story. Weird, though, how Lowe ends up heading back to a room with her.
What follows is a bit of intensity that I won’t ruin with any more. See it, dig it.
Loved seeing the Zodiac Killer, dressed in the supposed getup the living victim saw him wearing all those years ago, stroll past Lowe through the lobby. Amazing episode, cramming all these infamous serial killers into the hotel. Perfect addition for the week in which Halloween falls! I’ve got a great t-shirt with this version of the Zodiac on it, very creepy. Such a nice brief shot of him going past Dt. Lowe, the costume design worked so well.
Naturally, John is weirded out by it all. Downstairs he gets an invitation from Liz Taylor for the big Devil’s Night Ball. Should be a grand time, no?
Oh my, the hits just keep on coming! John Wayne Gacy (John Carroll Lynch) talks about doing good sub-flooring with Ramirez – such an incredibly subtle way to introduce the story of Gacy, instead of having him immediately dressed as a clown or something. At the dinner table, March introduces the night with a bit of absinthe. Everyone drinks it back excitedly. Although Lowe is certainly confused. Then there’s Jeffrey Dahmer (Seth Gabel), too. Zodiac strolls in late, silent, being heckled by the other killers. JUST AN OUTRAGEOUSLY AWESOME FUCKING SCENE! Yes, there’s exposition to give us a bit of the newly introduced serial killers, but I think it comes in proper doses. Plus, Lowe eventually breaks in and starts ragging on everyone, still believing it’s all a Halloween costume party of some sort. I couldn’t get enough of this whole sequence, such a well written episode.
I won’t ruin more of the big dinner scene. There’s an excellently disturbing, grotesque sequence within it after “Sweet Jane” by Cowboy Junkies starts to play, and all the murderers get their toys out, start really enjoying themselves. So terrifying! Detective Lowe has to sit there, handcuffed due to Gacy’s saucy tricks, and watch it all go down right in front of them. Love how March gives short little explanations about how all the serial killers came to him at various periods in their lives; it gives us great context, however, it also shows us how wonderful Evan Peters is as March, he gets time to show off a bit and be “the master.” Loved this sequence with every macabre and morbid bone in my body.
John Wayne Gacy: “Johnny Depp likes my paintings!”
With a little under 10 minutes left to the episode, we see Hypodermic Sally (Sarah Paulson) having a smoke outside the hotel. Some Wall Street-looking guy wanders up to her and talks shit for a little. Turns out, he wants “whatever you’re selling“, so he says to Sally. Will this poor fella end up in one of those mattresses like the creepy skin and bones dude from “Checking In” and Gabriel (Max Greenfield), too? We’ll see how things go for this one.
Oh my, we didn’t need to wait long. Sally buys off being left alone at the hotel by bringing up a fresh carcass for the killers’ dessert. Everyone selects a knife, Gacy even gets his makeup on (nice to see Lynch as another clown; this time an arguably more sickening one), and then the fresh bloodletting begins!
Then out of nowhere, Sally seems to wake John up. He’s alone. No killers, nobody else except him in a dusty old room. What is real? What is not? He’ll never know, though, we’ve got a great idea ourselves: scary enough, it’s all too real. Once Sally has the detective out of the room, March and the others go back to business.
“Devil’s Night” finishes off with Countess bringing Alex into the fold – she’ll now be one of those carrying this “ancient virus.” With a sweet kiss, the Countess tells her to allow herself “to be ripped apart” before letting Alex feed on some of her blood. All in the name of being reunited with Holden “for all of eternity.” Or at least that’s the bullshit this particular vampire is selling. Notice how Countess weeps sort of, as we cut out on Alex’s newly opened eyes, the virus no doubt taking hold; interesting to see where this heads.
Stay tuned for next week’s “Room Service.” Cannot wait to watch it, this episode was incredible! See you then, fellow horror fans.