Invitation to Hell: Vampires return to the cinema screen with elegance and good taste

In the confusion, she discovers that her family’s history is more complicated than it seems and that it is not as simple as a mystery separated by miles. Like so many horror movie characters, he decides to embark on a quest to find the answer to the enigma that surrounds him.

The premise is the most recent reimagining of the usual gothic story. He is even so by making his heroine a stranger among her peers. It also adds some political commentary to its female character. Evie is not a victim and is not meant to be. In fact, she has every intention of understanding his story, even if it seems to come at a price.

A heroine alone with her fears

Evie is American and must travel to a sophisticated Europe in search of a trace of her family. But even in this contemporary version of the possible victim stalking the monster, there are double readings. The journey is not only physical, it is also emotional. The character is confronted with shadows – his own and those from outside – but it will take him time to apprehend them and grasp their meaning.

Especially since what awaits him on the other side of the Atlantic is an ancient and twisted threat. The film raises the idea of ​​the terrifying of the imminent. All the indications point to the impossible and the unlikely, which binds the Invitation to Hell with The Night of the Ghost by Tom Holland. Both share the thread of the monstrous in the heart of everyday life.

But the ’80s vampire classic created the notion of the monster’s existence from the comics. Thompson’s production does it from the threat. Evie is in danger and it is a real danger, potentially fatal. Worse still: she could not only die, but go through some kind of ultimate darkness from which she could not return.

Invitation to Hell

Invitation to Hell has a precious and well-constructed aesthetic that works its atmosphere gradually. He achieves this through the use of light and shadow, attention to detail and a lavish look at architecture. Once her character leaves America, the world around her becomes a vision of luxury. The Europe that the director depicts has a certain languid and nostalgic air. But he also has a marked sinister character. Something is about to happen, the long shots of empty streets or classically decorated living rooms seem to suggest.

Castles, mists and pale faces in the midst of fear.

Invitation to Hell has a precious and well-constructed aesthetic that works its atmosphere gradually. He achieves this through the use of light and shadow, attention to detail and a lavish look at architecture. Once Evie leaves America, the world around her becomes a vision of luxury. The Europe that the director depicts has a certain languid and nostalgic air. But he also has a marked sinister character. The long shots of empty streets or classically decorated living rooms seem to suggest that something is about to happen.

A dangerous and probably supernatural circumstance awaits the character. One of the best things about the movie is that, similar to premise like Relic: Legacy of the Cursed by Natalie Erika James, atmosphere is everything. It is built step by step, as if the Austrian director wanted to express Evie’s passage from light to perpetual darkness.

The sequences in Invitation to Hell They drag on in placid silences that become uncomfortable. For casual observers, it might just be the character’s paranoia. Are they? But the plot isn’t obvious in the direction it’s going, so it takes time to build up the tension.

Invitation to Hell is an overhaul of the vampire genre that makes the right choices.

Evie, who has no clear idea of ​​what she will find in her mother’s story, discovers that she is more isolated than ever. Originally marginalized then, by a mysterious discretion of unknown parents, she makes her way to a core of threat. To achieve this, it will have to go through a deep connotation of loss. As she goes deeper into the continent, the young woman she was in America disappears.

When Evie receives an invitation from an unknown relative, the plot rhythm ofInvitation to Hell is accelerated. In the meantime, the confused orphan wanders from place to place in search of answers. But it is only in England that the film expands and its construction as a genre narrative becomes more evident.

It’s curious how Thompson uses small details to herald danger. One of the strengths of Invitation to Hell is to clarify that its heritage is that of Gothic cinema. Tribute is present in every sequence and is carried through, with skillful use of visual symbolism. Evie, standing at a crossroads in the city, seems to be waiting for danger. That’s how it is, and the script will soon reveal its secrets.

The camera sweeps across London with the amazed look of someone discovering beauty. But in the center of the majestic buildings, then an enigmatic castle, an old menace awaits. As unknown as it is unpredictable. At the end, a predator about to pounce on an unsuspecting victim.

Vampires return to the cinema screen with elegance and good taste.

When the monsters appear, Invitation to Hell lost a lot of his restraint. Its third section is the weakest and towards the conclusion, when Evie has to fight danger, the most predictable. Perhaps it’s because, on the other hand, the film retained its visual and narrative density long enough to amaze. By losing both, it becomes a mere picture of what could have been. However, he dares several daring decisions which allow the scenario to still reserve some surprises.

We particularly appreciate the fact that he approaches the theme of monsters in a contemporary way. It shows vampires as sophisticated predators, but at the same time creatures with a certain dark sensibility. This combination enriches the mythology associated with the monster. That’s not to say it’s bland, watered down, or romanticized at best. The creatures that inhabit the premises ofInvitation to Hell want to kill. They will, with a brilliant portrayal of hunger, desire and violence.

The design is smarter, less obvious and sleeker than many others from recent years. Closer to Only Lovers Survive by Jim Jarmusch and with obvious references to Bram Stoker’s (Francis Ford Coppola) Dracula, Invitation to Hell think about innocence. Also, how darkness is part of a perception of what human beings can be. Evie could be either a postmodern Mina Murray or a curious version of Jonathan Harker. Between the two, the film finds its balance and endows its character with a curious strength.

The predictable ending completely upsets the script’s well-maintained balance. But despite his lackluster final scenes, Invitation to Hell continues to be a major evolution in how horror is viewed. A sophisticated addition to the genre that is sure to find a place in the long mythology of ever-growing cinema that pays homage to vampires.

To display Hide the table of contents

Invitation to Hell: Vampires return to the cinema screen with elegance and good taste