Directed by:
Leigh WhannellScreenplay:
Leigh WhannellCinematography:
Stefan DuscioComposer:
Benjamin WallfischCast:
Elisabeth Moss, Oliver Jackson-Cohen, Storm Reid, Aldis Hodge, Harriet Dyer, Benedict Hardie, Anthony Brandon Wong, Amali Golden, Michael Dorman, Sam Smith (more)VOD (3)
Plots(1)
Trapped in a violent, controlling relationship with a wealthy and brilliant scientist, Cecilia Kass escapes in the dead of night and disappears into hiding, aided by her sister, their childhood friend and his teenage daughter. But when Cecilia’s abusive ex commits suicide and leaves her a generous portion of his vast fortune, Cecilia suspects his death was a hoax. As a series of eerie coincidences turns lethal, threatening the lives of those she loves, Cecilia’s sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see. (Universal Pictures US)
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Reviews (14)
At the cinema after three and a half months (!), during which I watched old quarantine B-movies on a TV screen outside my home, and I immediately got such a great film! This is a very respectable way to catch up on the backlog from the beginning of the year, having already been impressed by Ritchie’s The Gentlemen. Whannell’s The Invisible Man starts off on the principles of ghostly horror, then shifts into a sophisticated paranoid cat-and-mouse game, which culminates in a murder thriller with polished action visuals that will leave you breathless. Each of the film’s three phases demonstrates Whannell’s knowledge of genre rules and the inventiveness of his screenwriting and directing. This isn’t the work of a mere craftsman, as the film contains suspense built brilliantly through only the viewer’s lack of awareness and intense dark music, a shocking twist that will make you hold your breath like nothing (!) you have seen in a long time, creative and intelligent playing with genre clichés, well-thought-out sets and delicate camera acrobatics. And he packs all of this into an admirably bold runtime in order to bring us maximum satisfaction.
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The brilliantly paranoid direction and cinematography do to the viewer in The Invisible Man what, say, Spielberg's Jaws does to the viewer – the unsettling static shots simply suggest to you that there's someone standing there somewhere who can't be seen. Or are they there? Or there? Really terrific work and, along with the perfectly believable Elizabeth Moss, it is the main triumph of this unassuming but all the more impressive and surprising horror film, which of course deals with serious themes of domestic violence and restraint as much as it does with jump scares. If it had been a little shorter and had deleted say, the entire part in the attic, I'd have absolutely nothing to find fault with.
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The Invisible Man captures your attention thanks to the great atmosphere and, of course, Elisabeth Moss' evocative performance as Cecilia. Unlike most horror films (or thrillers), the film is not based directly on the fear of what we will see, but of what we will not actually see – to put it in a rather trite way – which it manages to do in a very artful way. Together with the protagonist, we look into empty doors or corridors and wait to see who or what will appear. Elisabeth Moss, thanks to her unmistakable looks, was a great choice for the role of a woman who is suddenly not at all sure of what is happening around her and doesn't know if she is slowly losing her mind. Towards the end, I felt that the plot started to lose its breath a bit, but I was more than satisfied with the overall denouement. Last but not least, I have to praise the unmistakable and captivating music, which perfectly completed the dense atmosphere of the film.
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The Invisible Man lived up to my expectations. Whannell put his unique spin on the story, and his signature style is unmistakable — many scenes practically shout that this is a Leigh Whannell film. The first half showcases his directorial prowess from Insidious: Chapter 3, but without the cheap scares. The second half strongly recalls Upgrade, especially the brilliantly executed fight scene in the psychiatric hospital corridor. This version feels closer to Paul Verhoeven's Hollow Man than the tragic tale of the scientist in H.G. Wells's original novel or James Whale's 1933 adaptation, which was light-hearted and immensely entertaining — don’t expect any humor here. The Invisible Man is thoughtfully crafted, maintaining tension throughout, and thanks to Elisabeth Moss's phenomenal performance, you genuinely care about and root for the protagonist. The ending is a bit convoluted but never to the point of undermining the film. We can be thankful that this version of The Invisible Man was made instead of the originally planned one starring Johnny Depp, which was supposed to be part of the now-abandoned Dark Universe. This remake has a clear vision and a distinct identity, making it well worth watching.
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The first half was on track for a five-star review. Whannell fires off one idea after another; the last time I enjoyed contemporary horror with a similarly fresh and innovative take was Wan’s first instalment of the Conjuring franchise. Wan and Whannell have quite a few things in common – both are undoubtedly clever creators who made do with modest means in their early days, relying on talent and inventiveness without any big budget to speak of. The excellent Upgrade simply wasn’t a lucky accident. It is clear to me now – and I would in fact bet my Blu-ray collection on it – that one big studio or another will make a move also on Whannell, who may look forward to a promising directing career (Scott Derrickson, another great talent, came from similar beginnings). Sadly, the second half of The Invisible Man somewhat turns into a B-movie spectacle, and I didn’t have as much fun. But the slightly cynical ending with a nice zinger was pleasant enough. Unlike Elizabeth Moss. She has no charisma, lacks feminine fragility…and what’s worse, she can’t act :o).
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