Nineteenth Century Irish novelist, playwright and raconteur Oscar Wilde, widely known for his witticisms and observations about life, is generally credited for the following arguably astute advice: “One should always be in love. That is the reason why one should never marry.” And it’s most fitting that those very words should eloquently serve as a cinematic epigraph at the start of the latest feature from actress-director Olivia Wilde, her best work behind the camera to date. Based on the 2020 Spanish comedy-drama, “Sentimental” (released domestically as “The People Upstairs”), this American remake presents an incisive, sometimes-brutal, often-cynical look at the subject of marriage through the eyes of a long-wedded San Francisco couple, Joe (Seth Rogen) and Angela (Wilde), when they invite their upstairs neighbors, Piña (Penélope Cruz) and Hawk (Edward Norton), to their place for dinner. Admittedly, Joe and Angela don’t know their guests well, but they certainly seem to know a lot about them and have developed well-defined opinions about them. The sparks start to fly before Piña and Hawk arrive, however, when it becomes apparent that the hosts are ill-prepared for the festivities, a scenario that reveals much about them and the state of the marriage. And, when the guests arrive, they pick up on the emotional turmoil quickly. Their keen observation skills, in turn, prompt a series of hilarious, intense and tension-filled episodes with Joe and Angela and, by extension, within each partnership. To say more here would reveal too much, but suffice it to say that the evening is filled with unexpected and provocative twists and turns that leave both couples drastically changed by night’s end. Their time together is replete with witty and scathing humor that frequently goes for the jugular, as well as moments of deep drama, heartwarming tenderness and stunning insights about one another. While the film occasionally tries a little too hard to evoke viewer responses (especially at the outset), once the picture finds its groove, it effectively fires on all cylinders, thanks to the outstanding writing and stellar performances of the perfectly cast quartet. “The Invite” feels very much like a Woody Allen movie from the days when he was at the peak of his career but without being a blatant copycat. What’s more, given that the bulk of the film takes place on one set, it comes across like a play but never feels the least bit stagey, maintaining a steady pace and effectively holding audience attention. This release defied any expectations I might have had about it going into the theater, a pleasant surprise in itself, but the fact that it shines on so many fronts makes it all the more worthwhile. The picture is admittedly sometimes a little cringey to watch, but it always rebounds, redeeming itself by making you laugh. And that’s one invitation I’d always be eager to accept.
