While I would never want to be one of those losers who decries that there’s nothing worth seeing these days, I think it’s certainly fair to say that the “adult sex comedy” has not been the most verdant cinematic garden as of late. Frankly, there’s just no market for it. Adult sex comedies are not IP-driven, nor are they something that mass audiences feel like shelling out money for since a non-event film can be typically be expected to hit streaming within weeks. Add to that a culture that can’t decide whether sex is a good or bad thing, or if it’s even appropriate to joke about, and it’s no surprise that these things are few and far between.
I make a point to specify “adult” sex comedy, since teen sex comedies are a much different beast. And before anyone jumps up to say that The Drama was quite well-received earlier this year, I will remind you that it was an adult relationship comedy, and a dark one at that, but it really had little to do with sex itself. It was more about guns, which are rather UN-sexy, their inherent phallic nature notwithstanding.
Enter The Invite, a remake of a 2020 Spanish film called Sentimental. Olivia Wilde’s latest (and best) work as a director is a true “adult sex comedy” that has both the star power and the backing of A24 to turn it into a theatrical event. What I’m saying is you really shouldn’t wait until streaming for this one. It plays like gangbusters with a crowd, and it’s far from the point-and-shoot flatness of so many chamberpiece films. Wilde, both in front of and behind the camera, is the absolute realest of deals, and it would be a shame for this stunning, complex, very funny film to become someone’s background noise while they fold laundry.
Here, Wilde plays Angela. She’s been preparing her home all day for the arrival of her upstairs neighbors who she’s invited over for a dinner party. Her husband Joe (Seth Rogen) has just gotten home from work, and he’s wholly unaware of the evening’s plans. Or is he? We get the sense right off the bat that this marriage has suffered from a breakdown in communication. Planned or not, the upstairs neighbors will be here in ten minutes, and there’s still so much to do, which includes deciding whether or not to confront said neighbors about their loud and frequent sexual intercourse. It’s not the easiest thing for the couple to do, given their own cold bedroom, but when Piña and Hawk (Penélope Cruz and Edward Norton, respectively) arrive, their relaxed and frank attitudes toward sex change the group dynamic in a big way.
What follows is a delightfully absurd comedy of (mis)communication that rests upon a strong dramatic throughline. Anyone who has been in a long term relationship, both successful or not, are sure to see themselves in at least one of these characters, which speaks not just to the writing, but to the level of performance on display. There’s no denying that all four performers are such recognizable faces that, if they were operating at a lower level, might prove hard to divorce from the characters. Before the film began, my knee jerk reaction was to wonder if this sort of film would be better cast with unknowns. I’m happy to say that I’ve been proven wrong in that regard. Any preconceived notions I held were quickly washed away. It’s fun to see two performers (Wilde and Rogen) who are so adept at comedy, pit forth such strong dramatic turns. Conversely, Norton and Cruz, both more lauded for their dramatic chop, put in laugh-out-loud comedic performances. Granted, all four have proven skilled at a broad expanse of genres over their careers, but you get what I mean.
(Really, this is just an opportunity for me to remind you that Death to Smoochy exists, and Edward Norton hits a comedic homerun as the eponymous character).
The film moves along at a solid clip, ending in a place that feels simultaneously earned and abrupt. I find myself wondering if it’s too long or too short. It’s not a spoiler to say that the dinner party has to end at some point, and when it does, it’s sudden and perfunctory. One gets the sense that the screenwriters decided that it was time to wrap things up and simply flipped a switch to get us to the film’s final moments. That said, I wonder if spending time on these particulars would’ve harmed the pacing, precariously balanced as it already was. That said, it’s hard to fault Wilde and co. for trading back end material in exchange for the luxurious pacing of the first two acts. It’s clear Wilde wanted to milk every moment for maximum discomfort and sexual tension, and boy oh boy does she do so with style. Her camera is constantly doing interesting things without calling attention to itself. The wider shots leave plenty of negative space at the top of the frame, making the setting feel both expansive and claustrophobic. The tighter shots are often right up in the actors’ faces, while still leaving room for intentional blocking and lighting. A wealth of narrative and thematic mileage is gained from surreptitious glances and cleverly placed reflections. It gives the story (which is just four people talking), a conspiratorial air that is constantly finding new permutations of interpersonal allegiances. It’s a brilliantly shot film, and it drives home the point that Olivia Wilde is much more than just “an actor who wants to try directing.” She’s a full-on auteur who just happens to also be a tremendous performer.
Directed by Olivia Wilde
Written by Will McCormack & Rashida Jones, based on a screenplay by Cesc Gay
Starring Olivia Wilde, Seth Rogen, Edward Norton, Penélope Cruz
Rated R, 107 minutes
