It’s rough work trying to remix a classic like Bram Stoker’s Dracula when there’s been 125 years of others endlessly giving it a go on paper, stage and screen

As such, when an attempt does hit some fresh angles, it’s to be commended—as is the case with The Invitation.

As such, when an attempt does hit some fresh angles, it’s to be commended—as is the case with The Invitation.

Opening with a prologue that might as well be ripped from a Gothic potboiler or classic Hammer film, The Invitation transitions to modern New York City where Evie (Emmanuel) is a struggling ceramics artist who gets by working catering events alongside her best friend Grace (Courtney Taylor).

Following the structure and tone of a modern Gothic romance novel, Evie is swept away to the remote countryside manor of Walter DeVille (Thomas Doherty), a close family friend to the Alexanders, who is hosting the nuptials on his property, New Carfax Abbey.

Handsome, built and truly dedicated to a dress code of only wearing white tops that he’s always spilling out of, Walt goes full swagger on Evie from their first, awkward meeting where Evie’s calling out his valet, Mr. Fields (Sean Pertwee), for being a rude prick to the maids.

Of course, sparks fly and Walt is always looming with a smirk and generous gifts that envelop Evie in the fairy tale of the whole experience.

Production designer Felicity Abbott totally nails dressing the manor and its grounds with heavy fabrics, statues and artifacts.

There’s even a bombastic score by Dara Taylor to emphasize that this movie has no interest in subtlety.