XX (2017)

Score: 3 / 5

A box with a killer secret. A dead body at a birthday party. A monster in the desert. The spawn of Satan.

The horror anthology film XX isn't for everyone. I prefer my anthologies to be at least somewhat linked by narrative, like Southbound (2015) or Trick 'r Treat (2007); some people don't like anthologies at all. The only thing linking the short films here is the concept that these are films created by women filmmakers. It's a surprisingly effective gimmick, though, as the filmmakers assembled have strong, distinct styles and tell some chilling tales. There's nothing here to make you scream aloud -- the roughly twenty-minute-each short films just don't have the time -- but moments and feelings will stick with you.

As well they should. The films feature stories of women in (arguably) female-specific situations. Three of them feature mothers. All four comment on the unique standards and expectations our culture assigns to women, and how unfair or outright ludicrous that can be. What is a mother to do when her family refuses to eat? What is a mother to do when her beloved son becomes a man and seeks dominance? What is a girl to do when she doesn't want to be scared by her prankster friends anymore? What is a woman to do to keep selling the fable of idealized suburbia to neighbors and her own daughter? Perhaps not always the most compelling premises, and perhaps more intentional than what I describe, the shorts nevertheless keep our interest due to their collective combination of humor and horror.

XX also radically challenges the constructs of traditional storytelling and filmmaking style. There's a creepy living dollhouse made in stop-motion that frames all the short films. The shorts themselves do not develop much character depth or plot intricacy, obviously, but they do feature dynamic direction and editing that whet my appetite for their makers to do juicier, meatier work. We jump right into the action (or inaction) and are often left still in the midst (or lack) of it. What happened before, to set up this horror? What happens next, after the horror has struck? We may never know, and I'm not convinced we should care. These are brief meditations that force us to think, and that is more than some films can boast.

P.S.: Though the star power is limited (no doubt due to the project's low budget), Melanie Lynskey kills her role as the put-upon mother in "The Birthday Party". Oh, and keep your eyes open for Kyle Allen (The Path) and Mike Doyle (lots of things, including The Invitation and Jersey Boys) in "Her Only Living Son".

IMDb: XX

The Invitation (2016)

Score: 4 / 5

If you're looking for something dark and heavy to curl up with this winter, The Invitation awaits you right now on the Netflix. And while I usually don't care for spoiling plot points and climaxes for you, this time I'll refrain as much as possible. Not because this movie is a big mystery or unpredictable, but because the way in which it presents itself is so beautiful that summarizing it here would lessen the dramatic impact for you.

The film concerns a dinner party, one thrown in rural Hollywood Hills by Eden and her new husband David, who have been mysteriously absent from social life for the last two years. Invited are sundry past friends -- Tommy and his boyfriend Miguel, Clara, Ben, Gina, and Choi who is apparently running late -- and Eden's ex-husband Will and his new girlfriend Kira. Eden and Will had divorced while trying to cope with the sudden death of their young son, and each has dealt (or, rather, not) with that pain in vastly different ways. It's the first time this group has been together since that tragedy, and tensions run as high as their curiosities.

Most of the film is a riveting drama, focusing on the interactions of these individuals as they navigate the tough waters of maintaining social graces in awkward situations. Slow, calculated shots follow each of the players through their anxieties as the plot unfolds. There's something a little off about David and Eden, and once they reveal their whereabouts for the last two years, the thrills begin to mount. Careful writing and a gorgeous score work seamlessly together, heightening the already fabulous set and costume design, fashioning an elitist atmosphere of suspicion and paranoia.

Between the red herrings and devastating revelations, we as the audience are drawn into an acute awareness that these people are suffering not because of their current situation, but rather because of the polite constraints of their culture. Eden and David have seemingly sought out an answer for their pain and a means to escape the imprisoning niceties of society, and while the others are at times enamored or infuriated by it, none is more disturbed than Will, who slowly breaks down as he re-lives the tragedies of his past. Ultimately, of course, all hell breaks loose, and as their respective weapons are drawn, our cast neglects any form of decency and their baser instincts take control.

It's not really "horror", and if you're looking for action or wit, this isn't for you. As a keen observation of social graces and a piercing satire of the same, however, the film is a masterpiece, and one that requires a nice glass of wine and a darkened room to fully enjoy. Immersive and absorbing, the film offers a fairly unique vision that, while far from perfect, will stay with you for a long time after. Accept the Invitation, and see where it takes you.

IMDb: The Invitation