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08.02.2015
Scary Good: IMDb's Guide to Horror Can't get enough of movies and television shows that scare up a good fright? Internet Movie Poster Awards - Featuring one of the largest collections of movie poster images on the web. A charged, unnerving turn of the screw, The Invitation is consumed by the fear of forgetting—and, in the end, of not being able to. It careens from carnage to group therapy so wildly that the action never gets to build and the conversations just repeat themselves.
As a writer and director, Rebecca Miller is at her best when she finds the shared wavelengths of her lead cast's divergent styles.
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Our preview section is your best, most complete guide for all the films, big and small, coming your way soon. Those who remember Nine Months will know that Moore is no stranger to romantic comedy, but in the past few years the prolific actress has been identified almost exclusively with heavy Oscar-bait like Far From Heaven and The Hours. This screwball pastiche with the comic rhythm of a dump truck marks her first starring role in a movie that necessitates she be typically sweet and funny, neither trait of which her meritorious credentials in hard melodrama can even begin to approximate.
Dreadfully partnered with the effortless Pierce Brosnan, the two play battling Manhattan divorce attorneys who get drunk, fuck, regret it, get drunk again, get shotgun-married, fuck again, regret it again, and (after a soul-killing hour-and-a-half, not including the Catch Me If You Can-facsimile opening credits) fall the fuck in love. Brosnan’s characteristically roguish advances, which generated showers of sparks opposite come-hither Rene Russo in the fabulous Thomas Crown Affair remake, are detrimental here given the creepily strained and non-charismatic nature of the coupling. Her Audrey Woods is depicted as a craven, sexless careerist—the only conduit the movie has to establishing her workplace equality—and Moore concurs with that, exuding the cuddly charm of Ann Coulter.


This is a woman who, in the context of reality, no self-respecting man would desire to share an elevator with, much less the rest of his life. The gauzy lens filters that erase Moore’s lines and freckles also rob her of an instinctive rawness and honesty.



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