The Invite

Title is wrong. Should be plural. InviteS. Is that a spoiler? No, it’s a tease!

Have you and your mate ever invited another couple over for a visit and realized in short order that it might’ve been a bad idea? Maybe even before the other couple arrives?

Angela (Olivia Wilde) and Joe (Seth Rogen) invite their intriguing upstairs neighbors Piña (a blonde Penelope Cruz) and Hawk (Edward Norton) to join them in their San Francisco apartment for dinner and drinks. Or did they? Joe is confused about the details of the invite and doesn’t seem to remember agreeing to it. 

When the neighbors show up, there’s some initial discomfort as they feel each other out. Not literally—that’s later in the story!

Joe is a frustrated music teacher who once played in a pop music band. Angela is a frustrated visual artist. Hawk is a retired fireman whose current interest is rolfing, a massage therapy. Pina is a sexologist. These are not boring people.

Thanks to an excellent script and talented actors who can convey those lines in skillful ways that make this conversation seem real, the audience listens in on an evening that goes in multiple directions: some hilariously funny, others tense and uncomfortable. 

The elephant in the room is Hawk and Piña’s noisy lovemaking. Will it be addressed? And will it lead to other, possibly dangerous, developments? And maybe another sort of invite?

The apartment itself is a key element of the movie with scenes occurring not just in the main living area. Sometimes a movie set within a limited area can feel like a recycled stage play. The Invite does not. A new rug in that living area gets a good amount of attention. A window in the downstairs apartment provides small views into the upstairs apartment. And, just as importantly, it offers views of Joe and Angela’s apartment from upstairs. Scenes occur in the kitchen, the hallway, Joe’s office and the bedroom.

The Invite is clever and amusing but some moviegoers may cringe when the talk takes a shift to the carnal. How open-minded are you? 

Another qualm: Seth Rogen. He’s funny. But he’s also big. And loud. Would an less boisterous actor have filled that role better? Topic for future discussion!

The Invite is directed by Olivia Wilde whose previous directing efforts include Don’t Worry Darling and Booksmart. The script is by Will McCormack and Rashida Jones (Quincy’s daughter!), adapted from a Spanish film.

The Invite is rated R.

Love The Coopers

Every family is dysfunctional to a degree, some more than others. The Coopers, Sam (John Goodman) and Charlotte (Diane Keaton), a couple whose 40-year marriage has lost its energy, have a family with issues galore. Charlotte wants one more happy family Christmas celebration before they split.

Love, The Coopers is like an edgier Hallmark Christmas movie, with cast members who are better known. Like a Hallmark movie, things generally work out. Like a Hallmark movie, there are few non-white faces. Unlike a Hallmark movie, a few impolite phrases are uttered and bodily functions draw attention. But don’t worry: LTC is safely PG-13.

Cooper offspring include Hank (Ed Helms) and Eleanor (Olivia Wilde). Hank’s marriage to Angie (Alex Borstein, best known as the voice of Lois Griffin on Family Guy) is breaking up. Among their three kids is son Charlie (Timothee Chalet) who is at that awkward age and is especially awkward at kissing.

Eleanor (Olivia Wilde) is a flirty type who picks up cute serviceman Joe (Jack Lacy) at the airport and drags him to the family’s Christmas Eve dinner as her pretend boyfriend. Their verbal jousting (over political and religious differences) provides some of the film’s highlights.

Emma (Marisa Tomei) is Charlotte’s younger sister with whom a sibling rivalry persists. She is busted for shoplifting at the mall. She does some amateur counseling from the back seat of the patrol car for the quiet cop (Anthony Mackie), who opens up about his sexuality.

Guests at the Christmas dinner table also include Charlotte and Emma’s dad Bucky (Alan Arkin) and his favorite diner waitress Ruby (Amanda Seyfried). Also, an addled aunt played by June Squibb is more cute than funny. Narration for the story is by Steve Martin.

Love, The Coopers—I added the comma to indicate that it refers to a Christmas card signature, not a command—is a not unpleasant holiday film. But it’s not as touching as The Family Stone (which also starred Keaton) or It’s A Wonderful Life, not as funny as Christmas Vacation or the Santa Clause movies. I’d put it right around Christmas With The Kranks level in the Christmas movie rankings.

The Incredible Burt Wonderstone

If you like Steve Carrell, you’ll probably like The Incredible Burt Wonderstone. This movie is funny and it is fun. TIBW has several hilarious sight gags to go with a good group of well-cast characters.

Carrell and fellow Steve, Buscemi, play childhood friends who parlay their love of magic into a long running gig together in Vegas as Burt Wonderstone and Anton Marvelton. But the act gets stale, egos inflate and they get sick of each other. When audiences disappear, it’s not an illusion.

Meanwhile, a street magician, played brilliantly by Jim Carrey, is creating huge buzz with his over-the-top stunts. As his star rises, Burt and Anton’s is fading. A desperation stunt by Burt and Anton ends badly and their partnership goes “poof!”

Burt’s redemption comes with help from Alan Arkin, a man who adds a spark to any movie he’s in. Arkin is an aging magician who helps Burt regain a passion for magic. The beautiful Olivia Wilde adds more than just eye candy in her role as a magician’s assistant who helps Burt regain some humility.

James Gandolfini is the oily casino boss who hires and fires Burt and Anton, then gives them a big opportunity for a comeback. And the rarely seen but talented Jay Mohr plays a likeable small-time wannabe Vegas magician.

The Incredible Burt Wonderstone is not what you would call a “laugh riot.” As with Carrell’s performance on The Office, some of the laughs delivered here are chuckles, not guffaws. But there’s plenty of fun in TIBW. If you’re looking for a pleasant amusement, my magic words are “go see it.”

 

 

 

 

 

The Words

A  good story told well and a memorable performance by Jeremy Irons make “The Words” a movie I recommend.

This is a story of plagiarism. It’s the story of the person who copied the words, the person whose words were copied and the person who shares the story with the world.

When Mike Brewer borrowed my freshman English term paper about a Nathaniel Hawthorne short story (“I just want to see how you did it, Dave”) and then copied it word for word, I was upset. But I got over it. When, in “The Words,” a misplaced manuscript becomes a best seller, the results have significant, long-term ramifications.

The stories in “The Words” are of three men played by Dennis Quaid, Bradley Cooper and Jeremy Irons and how the words they write affects them. Three women played by Olivia Wilde, Zoe Saldana and Nora Arnezeder are also affected by those words.

Among the talented cast, Irons is especially effective as a grizzled old man who looks older than 64 (Irons’ age). Irons’ deliberate, low key recounting of things he lost in his younger days produces a performance that’s sure to nab award nominations. His voice—one of the most compelling this side of Morgan Freeman—is one that commands our rapt attention.

Brian Klugman and Lee Sternthal co-wrote and co-directed “The Words.” They’ve assembled a movie that unfolds its story in a clever manner and gives a bit of depth to its three lead male characters. “The Words” is not a perfect movie, but it entertains nicely and has a structure that keeps the moviegoer involved throughout. Really, go see it.