Criticism of The Invitation, a horror film that could have stood out more within the genre

‘The invitation’ is a horror movie which on the one hand has some strengths, and ends up being an acceptable proposal, at times well told and with some pleasant photography scenes, with gothic overtones. But it ends up being a compendium of pastiches drinking from endless references of the horror genre at Cinema.

Although it must be said that the director Jessica M. Thompsontries to produce a film with a presumed critical conscience, which deals with topics such as inclusivity or gender equity, topics that could be interesting to explore, ends up flattening them by treating them in a very superficial way.

The invitation, a film that could contribute more to the horror genre

The plot of ‘The invitation’centers on Evie, a New York artist played by Natalia Emanuelemourning the death of her mother who, after a DNA test, discovers she has a family of aristocrats in England and her cousin Oliver Alexander, played by Hugh Skinnerinvites her to a wedding in that country.

Being somewhat similar to Jordan Peele’s “Let me out”, as like in this one, Evie ignores her friend Grace, who warns her not to trust wealthy white families. However, the desire to Vigil having a bond with his family ends up standing out.

The film begins with a first scene in which a stage is glimpsed classic horror movie, in which lightning illuminates a villa with romantic architecture and a woman by candlelight is about to jump into the void. Around it it is possible to see that something is hidden in the shadows, but we cannot appreciate what it is.

In this very villa, Evie notices strange things, but is both amazed and outraged by her wealthy relatives and the treatment of servants. However, she begins flirting with the party host, Walter DeVillet, played by Thomas Doherty. This is the theme that occupies almost the entire film, a romantic game full of misunderstandings, and the flirtation with the idea of ​​power and luxury that constantly seduces the protagonist.

However, despite the notable points, the film ends up falling into an easy fright, with common and generic images, which do nothing but continue to feed the well-known clichés of the horror genre, without providing any interesting visual proposition, which it will transport into a ‘ atmosphere of uncomfortable truth.

Though well paced, its climax is too short, and then everything happens too fast, wasting many elements that could have been explored more.

With all this, “The Invitation” ends up being something closer to the “Twilight” type blockbusters. Proof of this is that the camera is more and more attentive to the costumes of the characters, than to the violence and dark touches that could have been given more strength. Even so, the film does not seek to be part of the catalog of A24 and you can see which audience it is aimed at, for which it works perfectly.