I join CTV NewsChannel anchor Akshay Tandon to talk about the new releases in theatres, including The anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Watch the whole thing HERE!
I join “CP24 Breakfast” hosts Nick Dixon and Jennifer Hsiung to talk about the anarchy of “Minions & Monsters,” the animated adventures of Disney+’s “X-Men ’97” and the Prime Video “Legally Blonde” prequel “Elle.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with guest host Andrew Pinsent to talk about the new movies coming to theatres including the anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you about the anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Watch the whole thing HERE!
I join the Bell Media Radio Network national night time show “Shane Hewitt and the Night Shift” to talk about Michael J. Fox’s promotion to the Companion of the Oredr of Canada, Larry David responding to criticism from President Obama and an audience member that saved an orchestral show in Sydney, Australia. Then, on Booze & Reviews I tell you about the dinner party movie “The Invite” and suggest the best cocktails to serve over dinner!
Listen to the whole thing HERE!
SYNOPSIS: In “The Invite,” a new comedy directed by Olivia Wilde now playing in theatres, a dinner party thrown by an unhappy couple spirals out of control amid pent up frustrations and surprising propositions. “Why do I feel like everyone knows something except for me,” says Joe.
CAST: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton. Directed by Olivia Wilde.
REVIEW: Sexy and cringy, “The Invite” is a sharp, insightful portrait of a crumbling marriage, that shifts from high comedy to emotionally raw over the course of 107 eventful minutes.
A throwback to a time when adult dramas earned wide releases in theatres, “The Invite” begins with longtime couple, the eager-to-please Angela (Olivia Wilde, who also directs) and cynical music teacher Joe (Seth Rogen) prepping their well-appointed San Francisco apartment for a dinner party.
Joe claims Angela didn’t tell him their sophisticated neighbors were coming and wants to cancel. It’s too late, she says, she’s already made an elaborate charcuterie board and put the soufflé in the oven.
They’re bickering, “Who’s Afraid of Virginia Wolfe?” style, as sexologist Pina (Penélope Cruz) and sensitive former fire fighter Hawk (Edward Norton) arrive. Impossibly cool, they’re completely untroubled by the argument they heard through the door. “We love a contentious environment,” Hawk says.
From then on, the evening rides a razor’s edge as secrets are shared, propositions are presented and frustrations aired. The real action begins when Pina and Hawk announce, “We have something we wanted to talk to you about.”
It’s cutting stuff, sharp enough to possibly sever Angela and Joe’s relationship.
An emotionally chaotic chamber piece, “The Invite” allows each of its actors to strut their stuff. All have a facility with the rapid fire, ping pong dialogue, making the theatrical seem natural.
Rogen mixes comic timing with true vulnerability and Norton’s wit switches on a dime as he delivers one of the film’s lengthier monologues, laying bare his soul.
The film’s real surprises, however, lie in the performances of Cruz abnd Wilde.
Cruz sparks with Norton, but it’s in the third act when she switches from seductress to therapist in the final act that sparks really begin to fly. Charismatic and fiery, she delivers magnetic, top-flight work, on par with “Vicky Cristina Barcelona” and “Parallel Mothers.”
But, despite the dynamic efforts of the cast, it’s Wilde’s movie. As a director, she’s in top form, creating something that doesn’t feel anything like her previous efforts “Booksmart” and “Don’t Worry Darling.”
Using artful, sometimes claustrophobic, blocking to create humor and tension, her control over the tone of the piece is remarkable. The script leap frogs from serious and sincere to funny and inflammatory and Wilde, along with cinematographer Adam Newport-Berra, subtly and effectively use the kinetic visuals to communicate the emotions experienced by the characters.
It’s great show me, don’t tell me work, but it’s her performance that lingers after the end credits roll. Wearing Angela’s neurosis on her sleeve, she delivers a tightly wound portrait of a person in the grips of a prolonged anxiety attack that is earnest, funny and vulnerable. She deserves an Oscar simply for the artful way she disposes of the abovementioned soufflé after realizing its burnt and can’t be served. It’s a small moment that perfectly blends mild slapstick with Angela’s state of mind and it makes a big impact.
“The Invite” is a terrific, uncomfortable movie that beautifully constructs an evening where everything falls apart.
