
When Marina finally calls Gideon, he can’t believe his luck in hopeful love. But his happiness is short-lived. Marina only wants Gideon to pretend to be her boyfriend so she can investigate a séance as an undercover reporter. It turns out that Gideon and Marina aren’t the only ones with something to hide. Ramona, the not-so-typical medium, suspects there are hidden cameras and her creepy sidekick Errol keeps disappearing when the lights go out. Something’s unsettling about Marina’s editor, Trevor, and his timid wife, Helen. A dead woman’s daughter, Lily, is an unbalanced mess, and her boyfriend, David, is less of a rock and more of a stoner. When the séance turns south, a mournful spirit will ensure all of their buried secrets are brought to light.
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.
This coming-of-age movie discusses immigration issues in the United States through the eyes of two exchange students in Brazil.
The Invitation takes a creeping look at two simple premises: reuniting with forgotten friends and new-age spiritualism. Though one seems a bit scarier than the other, the film heightens social awkwardness to a macabre level that puts an uncomfortable look on when the social taboo of grief is put on public display.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.