This was one of my most anticipated movies of the summer, and I’m thrilled to say it lived up to the hype (all the way from Sundance, where it reportedly sparked a bidding war)

The story unfolds over just one day when Angela (Olivia Wilde) invites the couple from the upstairs apartment, the ones who have been keeping them awake with their loud sex every night. Her husband, Joe (Seth Rogen), comes home from his music-teaching job with a sore back from his bike ride. He’s dumbfounded that she didn’t tell him about this plan, but Angela insists she mentioned it yesterday. Angela is frantically preoccupied with getting everything ready. The table is all set, she’s whipping up a soufflé, and she even bought a new rug.

The Invite is based on Cesc Gay‘s Spanish film The People Upstairs (also called Sentimental), which itself is adapted from a stage play he wrote. Wilde returns to the director’s seat four years after the less-than-stellar Don’t Worry Darling. This time, she shines both as a director and an actress. The film grabs your attention right away, showcasing the natural performances and the clever script penned by Rashida Jones and Will McCormick. While watching, I noticed that the dialogue feels like it was crafted for the stage, which makes sense given its origins.  

The real fun begins when Piña (Penélope Cruz, rocking a platinum blond bob) and Hawk (Edward Norton) arrive at their home. They knock on the door just as Angela and Joe are in the middle of a screaming match. If you’ve ever experienced an awkward moment at a party or a big gathering (who doesn’t?), you’ll find this scene both relatable and hilarious. Piña exudes sensuality and possesses a certain wisdom that Angela admires. Hawk is jovial and approachable; he lets Joe’s jabs, even when he mocks his name, roll off his back.

The movie’s opening credits serve as an effective exposition, depicting Angela and Joe’s happier times when Joe was a musician in a band. Those days are long gone; their current relationship is so contemptuous you could hardly believe they ever got together. We find out they have a pre-teen daughter who’s having a sleepover, which could be why they’ve stuck it out this long. On the flip side, Piña and Hawk are still in the honeymoon phase, having been together for less than a year. They’re still very lovey-dovey and clearly enjoying themselves way more than Angela and Joe.

As the night wears on and more booze is consumed, things get increasingly interesting. Hawk and Piña’s polyamorous and sexually open nature leads to some genuinely funny moments, leaving Angela and Joe both shocked and curious. However, it’s the neighbors’ emotional and sexual openness that serves as a wake-up call for the central couple, making them realize the troubling state of their ‘autopilot marriage.’ Angela and Joe barely communicate, their sex life is virtually nonexistent, and worst of all, they blame each other for their own unhappiness.

The performances from the four leads are outstanding all around. Each character is perfectly cast, and none of them hit a wrong note. I read that Wilde set up a two-week improvisational rehearsal to help the actors really connect with their roles. That’s definitely worth the effort, as their teamwork is evident in the performance. Cruz really shines here; her magnetism and charisma are undeniable. As a psychotherapist and sexologist, Piña astutely identifies her neighbors’ fundamental relationship issues. 

I’m really impressed with Wilde, whom I usually think of as a confident, glamorous beauty. Here, she convincingly portrays a high-strung woman with low self-esteem. Rogen is known for his comedic works, but he shows he has serious dramatic talent too, while the typically serious Norton reveals his brilliant comedic side. The scene where Hawk and Angela bond over her new rug is a hoot!

The sexual scenes are not as raunchy by its R-rated standards, as Wilde relies more on tense, provocative dialogue. If handled poorly, those scenes could have been much more explicit for shock value. This restraint indicates that Wilde trusts the material is compelling enough on its own; adding more sensational elements would only lessen its impact.

Jade Healy‘s production design and Adam Newport-Berra‘s cinematography work together to create a sense of claustrophobia despite being set in a fairly spacious, posh San Francisco apartment. It’s as if the characters feel trapped there in the narrow corridors and doorways. During the most gripping dialogue, the camera remains steady, avoiding those flashy quick cuts that can be quite distracting.

Devonté Hynes’ score with minimalist acoustic instrumentation works to amplify the tension between the couple and, at times, descends into psychological horror with the cello and violin sounds. It certainly makes me feel their state of panic as things go off the rails.

By the finale, it’s inevitable that Joe and Angela’s already crumbling marriage implodes over the course of an evening. However, Wilde leaves the conclusion open to interpretation; the melancholic finale can be seen in two different lights. At first, I see it as a hopeful ending that hints at the two striving to move forward, especially since the scene at the piano seems to relate to their happier times. But after mulling it over, it could also suggest that they’ve accepted their marriage is done and that they’ve finally come to terms with it.

I love movies that blend comedy and tragedy well. I found myself laughing out loud at all the awkward moments and their horny shenanigans, while simultaneously reflecting on my own marriage and those of my friends. It also made me ponder life in general, especially how adulthood is all about reconciling who you really are with who you hoped to be. This film is definitely thought-provoking and a great conversation starter. Its humor goes beyond just silly antics; it actually has something interesting to say. 

Kudos to Wilde for delivering a masterclass in domestic tension. The dialogue crackles with biting wit, and the sexual tension practically ricochets off the apartment walls. In a year with plenty of blockbusters boasting sheer spectacles, I love that we’ve got a superb film where the acting and dialogue take center stage.

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