In 2019 Olivia Wilde made her directorial debut with Booksmart, a coming-of-age comedy that wound up becoming an all time fav of mine. Her follow up, Don't Worry Darling, came in with a lot of hype, but drama on set and during the press tour left an already messy film feeling like an all around misfire. I do enjoy the film, but there's no denying that it stands as a major case of wasted potential with its clever premise and star studded cast. Now, Wilde is back to making something on a smaller scale with The Invite, a film that puts her right back on the map as a filmmaker to keep an eye on.
The Invite follows Wilde and Seth Rogen as Angela and Joe, a couple whose marriage has lost its magic. When Joe comes home from work one day, he walks into Angela spreading out charcuterie and tidying the house, revealing that she has invited their upstairs neighbors for dinner. Joe is initially turned off by the idea, but sees it as an opportunity to confront them about their loud lovemaking. When Hawk and Pina (Edward Norton and Penelope Cruz) arrive, the night quickly takes turns that neither Joe nor Angela could have seen coming. That's as far as I'll go with the plot synopsis, the trailers can give you a solid idea of where things are going generally, but I think going into this as blind as you can will make it an even better time.
To put it simply, this is one of the funniest films you'll see this year. The screenplay, adapted from a 2020 Spanish film, is written by co-writer/director of the Oscar winning animated short If Anything Happens I Love You, as well as acclaimed comedic actress Rashida Jones. The two also wrote Celeste and Jesse Forever which I now desperately need to watch, as their script for The Invite is just spectacular. Right off the bat, the dynamic between Wilde and Rogen is terrific. They bring that awkwardness of a couple in the midst of a rift perfectly, but the way the two bounce off of one another comedically is just something special. The opening delivers consistent moments that had my audience howling with laughter, and there's a relatability about the little things they bicker over that just keeps getting funnier and funnier. Something as small as the existence of a foldable bike is enough to deliver chaotic laughs, and that frantic comedic energy right out of the gates help hook the viewer instantly.
Once Norton and Cruz get added to the mix the awkward tensions only lead to more great comedic bits, with Rogen's Joe clearly against having them their, while Wilde's Angela is effectively kissing ass in a desperate attempt to impress them. Joe and Hawk are wildly different which makes their banter hilarious, meanwhile Angela's near-idolization of Pina makes for its own great moments. All four of them are standouts, but the presence Cruz brings in particular is a real highlight, especially amidst the chaotic relationship between Joe and Angela. The comedy is infectious from start to finish, but what pleasantly surprised me most was the emotional core simmering under all the humour. While you're sitting in the theatre having a good time, the evenings twists and turns give you hints at just how broken Joe and Angela are, leaving you wanting them to be able to work things out but also struggling to see if they can. It adds a nuanced edge to what is otherwise just a brilliant comedy, elevating the film from really good to one of the year's absolute best.
The craft on display is also crucial in elevating the film's seemingly simple premise. This is largely a chamber piece, but the dynamic cinematography and editing make it flow perfectly despite the constrained space. In general Adam Newport-Berra's cinematography surprised me a lot, with the film's final shot being one that hasn't left my mind since I saw the film. The editing is great at not just imbuing the film with its often frantic energy, but also in creating great comedic moments simply by cutting from one pair to another at the perfect time. There is a point where the quartet splits, with Joe and Pina smoking a joint in Joe's office while Angela and Hawk tour the apartment, and this is just one scene where the constant cutting back and forth leads to phenomenal comedy.
Even elements like the set design and musical score are working overtime here, with the apartment feeling like an unofficial fifth character and the music adding to the chaotic energy Wilde creates. This is really just one of those cases where every department is firing on all cylinders despite the film's smaller scale, and I think going back to something more intimate after the grander scope of Don't Worry Darling really allowed Wilde to find her footing again as a filmmaker.
I expected to enjoy this going in, but I wasn't prepared for how much I wound up loving it. This is currently my #2 movie of the year, an absolute riot that also worked on me emotionally much more than anticipated. Olivia Wilde is back and I can't wait to see what she does next. 4.5/5
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