‘Invitation to Hell’, review: elegant vampires return

In invitation to hell, Evie (Nathalie Emmanuel) doesn’t know where she belongs. After the death of her mother, she lost her bearings and her sense of identity. In the confusion, she discovers that her family history is more complicated than it seems and not as simple as a mystery separated by miles. In the same way as so many other characters in horror movies, she decides to start a search for the answer to that enigma around her.

The premise is the most recent reinvention of the usual gothic story. It is, even, by presenting its heroine as a stranger among equals. In addition, to add a certain political comment about her female character. Evie is not a victim and she is not meant to be. In reality, she has every intention of understanding her story, even though that seems to come at a price.

A heroine alone with her fears

Evie is American and must travel to sophisticated Europe in search of any trace of her family. But even in this contemporary version of the possible victim lying in wait for the monster, there are double readings. The journey is not only physical, it is also emotional. The character faces the shadows —her own and external ones— but it will take time to delve into them and their meaning.

All the more so when what awaits him on the other side of the Atlantic is some kind of old, twisted threat. The film raises the idea of ​​the terrifying from the imminent. All signs point to the impossible and the unbelievable, which makes invitation to hellwith the night of terror by Tom Holland. Both share the thread of the monstrous in the everyday heart.

But the vampire classic of the eighties created the notion of the existence of the monster from the comic. Thompson’s production does it from the threat. Evie is in danger and it’s a real, life-threatening one. Even worse: he might not only die, but go through some kind of ultimate darkness that he can’t come back from.

invitation to hell

Invitation to Hell has a precious and well-constructed aesthetic that gradually works on its atmosphere. He achieves this through the use of light and shadow, attention to detail, and a lavish look at architecture. Once his character leaves America, the world around him becomes a vision of luxury. The Europe portrayed by the director has a certain languid and nostalgic air. But also, a marked ominous character. Something will happen soon, seems to suggest the long shots that observe empty streets or rooms with classic decoration.


























Score: 4 out of 5.

Castles, mists and pale faces in the midst of fear

invitation to hell It has a precious and well-constructed aesthetic that gradually works on its atmosphere. She 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 portrayed by the director has a certain languid and nostalgic air. But also, a marked ominous character. Something will happen soon, she seems to propose the long shots that observe empty streets or rooms with classic decoration.

invitation to hell

A dangerous and undoubtedly supernatural circumstance awaits the character. One of the highest elements of the feature film is that in the same way that premises such as Relic: Cursed Inheritance 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 lengthen into placid silences that become uncomfortable. On casual observers it could just be the character’s paranoia. They are? But the plot isn’t obvious in which direction it’s headed, so it takes time to build tension.

invitation to hell is a review of the vampire genre that makes the right decisions

Evie, who has no clear idea of ​​what she will find in her mother’s story, finds that she is more isolated than ever. Marginalized from origin and later, by a mysterious discretion of unknown relatives, she heads towards a core of threat. To get there, she will have to go through a deep connotation about loss. As she moves further into the continent, the young woman she was in America disappears.

When Evie receives an invitation from an unknown relative, the rhythm of the argument of invitation to hell it speeds up. Until then, the confused orphan wanders from one place to another in search of answers. But it is only in England that the film takes on greater body and its construction as a genre story becomes more obvious.

It’s funny how Thompson uses small details to announce the danger. One of the highest points of invitation to hell is to be clear that his heritage is that of gothic cinema. The tribute is in all the sequences and it is carried out, with a skilful use of visual symbols. Evie, standing at a crossroads in the city, seems to await danger. It is so and soon, the script will show her secrets.

The camera pans across London with the air of wonder of one who discovers beauty. But at the center of the stately buildings and beyond, an enigmatic castle, an old threat awaits. As unknown as unpredictable. In the end, a predator about to pounce on an unsuspecting victim.

invitation to hell

Vampires return to the cinema screen with elegance and good taste

By the time the monsters first appear, invitation to hell lost much of its contained air. Its third installment is the weakest and towards the conclusion, when Evie must fight against danger, the most predictable. Perhaps it’s because, by contrast, the film maintained its visual and narrative density long enough to amaze. By losing both, it becomes a simple image of what could have been. However, he dares to several bold decisions that allow the script to still hold some surprises.

In particular, it is appreciated that it deepens the theme of the monster in a contemporary way. Show the vampires as sophisticated predators, but at the same time, creatures with a certain dark sensitivity. The combination allows the mythology associated with the monster to become richer. Not for that soft, sweetened or the best of cases, romantic. The creatures that inhabit the premise of invitation to hell they want to kill. They will, with a brilliant portrait of hunger, desire and violence.

The conception is more intelligent, less obvious and elegant than many others of recent date. closest to only lovers survive by Jim Jarmusch and with obvious references to Bram Stoker’s Dracula (Francis Ford Coppola), invitation to hell ponder over innocence. Also, as the darkness is part of a perception of what the human being can be. Evie could be both a postmodern Mina Murray and a curious version of Jonathan Harker. Between one thing and another, the film finds her balance and gives her character a curious strength.

The predictable ending completely breaks the well-maintained balance of the script. But despite his lackluster last scenes, invitation to hell continues to be a great evolution in the way of contemplating horror. A sophisticated addition to the genre that will surely find a good place in the long mythology of the ever-growing cinema that pays homage to vampires.

‘Invitation to Hell’, review: elegant vampires return