You get a sense right from the start that the marriage between "Joe" (Seth Rogan) and "Angela" (Olivia Wilde) is running on the fumes of what it once was - and that it has been for a while. He returns home from his mundane work as a music teacher to find that she has invited their neighbours for a c... You get a sense right from the start that the marriage between "Joe" (Seth Rogan) and "Angela" (Olivia Wilde) is running on the fumes of what it once was - and that it has been for a while. He returns home from his mundane work as a music teacher to find that she has invited their neighbours for a continental supper. He has no recollection of this having been discussed, but his grump soon has to be restrained when "Piña" (Penélope Cruz) and "Hawk" (Edward Norton) arrive. Not unsurprisingly, they quite quickly read the scenario and suggest that this maybe isn't the best time, but "Angela" insists that they stay and enjoy some jambon and red wine - oops, he didn't remember to buy any so they are having to use their secret stash! Rather than settle into a more standard form of polite behaviour with their guests, the couple continue to bicker and snap at each other creating the kind of toxic atmosphere you could cut with a cheese knife. All the while, we are also sensing that their guests have a bit of an ulterior motive too, and that becomes altogether clearer when "Joe" and "Piña" split from the other pair and what now ensues tests the fabric of their marriage(s!) whilst offering us quite an insightful observation of a couple who are cruising along through life because they can't really be bothered doing anything else. Are they still in love, or even in like? Is their relationship beyond repair or does it just need a kick in the ass? Wilde manages to capture the exasperated wife convincingly and Cruz steals this towards the latter part of this nuptial analysis as her role - that of a counsellor - allows her to make some brutally acerbic comments on the state of her host's lives whilst also whipping a few cracks in the direction of her own beau whom Norton plays in an engagingly understated fashion. Never correct a Spaniard's English when she's in full flow!! The four actors are all on solid form both together and in their pairings and the comedy - of which there is plenty - comes mostly from writing that is sophisticatedly poignant throughout. Though essentially a critique on human relationships, this also takes a pop at the ridiculousness of faddishness too and the denouement has something quite "Tales of the Unexpected" to it, too. It does have something of the theatrical to it and I reckon it would work well on stage. As it is here, though, it's comfortably on par with Cesc Gay's original short comedy "Sentimental" (from 2020 and also worth a gander).

Nineteenth Century Irish novelist, playwright and raconteur Oscar Wilde, widely known for his witticisms and observations about life, is generally credited for the following arguably astute advice: “One should always be in love. That is the reason why one should never marry.” And it’s most fit... Nineteenth Century Irish novelist, playwright and raconteur Oscar Wilde, widely known for his witticisms and observations about life, is generally credited for the following arguably astute advice: “One should always be in love. That is the reason why one should never marry.” And it’s most fitting that those very words should eloquently serve as a cinematic epigraph at the start of the latest feature from actress-director Olivia Wilde, her best work behind the camera to date. Based on the 2020 Spanish comedy-drama, “Sentimental” (released domestically as “The People Upstairs”), this American remake presents an incisive, sometimes-brutal, often-cynical look at the subject of marriage through the eyes of a long-wedded San Francisco couple, Joe (Seth Rogen) and Angela (Wilde), when they invite their upstairs neighbors, Piña (Penélope Cruz) and Hawk (Edward Norton), to their place for dinner. Admittedly, Joe and Angela don’t know their guests well, but they certainly seem to know a lot about them and have developed well-defined opinions about them. The sparks start to fly before Piña and Hawk arrive, however, when it becomes apparent that the hosts are ill-prepared for the festivities, a scenario that reveals much about them and the state of the marriage. And, when the guests arrive, they pick up on the emotional turmoil quickly. Their keen observation skills, in turn, prompt a series of hilarious, intense and tension-filled episodes with Joe and Angela and, by extension, within each partnership. To say more here would reveal too much, but suffice it to say that the evening is filled with unexpected and provocative twists and turns that leave both couples drastically changed by night’s end. Their time together is replete with witty and scathing humor that frequently goes for the jugular, as well as moments of deep drama, heartwarming tenderness and stunning insights about one another. While the film occasionally tries a little too hard to evoke viewer responses (especially at the outset), once the picture finds its groove, it effectively fires on all cylinders, thanks to the outstanding writing and stellar performances of the perfectly cast quartet. “The Invite” feels very much like a Woody Allen movie from the days when he was at the peak of his career but without being a blatant copycat. What’s more, given that the bulk of the film takes place on one set, it comes across like a play but never feels the least bit stagey, maintaining a steady pace and effectively holding audience attention. This release defied any expectations I might have had about it going into the theater, a pleasant surprise in itself, but the fact that it shines on so many fronts makes it all the more worthwhile. The picture is admittedly sometimes a little cringey to watch, but it always rebounds, redeeming itself by making you laugh. And that’s one invitation I’d always be eager to accept.