A new take on The Invisible Man (from the H.G. Wells novel and 1933 Universal Studios horror classic), starring Elisabeth Moss.
After escaping her abusive, obsessive partner, Cecilia (Moss) begins to rebuild her life. Shattered from the experience, Cecilia's fear that he will track her down begins to lighten when she hears of his death - but she soon begins to suspect he is not only still alive, but has found a way to torment her, one that no-one will believe. From Australian director Leigh Whannell, maker of 2018's Upgrade and writer of Saw films one through three.
Turning its focus away from the title character as protagonist in The Invisible Man works wonderfully horrifically for Leigh Whannell’s follow-up to excellent techno-horror Upgrade. Elisabeth Moss takes centre stage as Cecelia, who in the film’s opening moments is seen fearfully executing her plan to leave a partner who clearly terrifies her.
Full reviewIt may be cheap, but it’s also a sensational remake that updates the story to the 21st century and reframes it as a contemporary domestic horror. The Invisible Man is not to be missed.
Full review…a triumph… a clever, engrossing and frequently genuinely scary genre flick with a stellar cast and thematic resonance.
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I walked into The Invisible Man not expecting much more than "this week's horror", albeit with a better than average cast. I walked out wondering if this is a serious early contender for a Top 10 of 2020 list, in 10 short month's time.
Full review...a triumph... a clever, engrossing and frequently genuinely scary genre flick with a stellar cast and thematic resonance.
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Alive with fresh thinking from Whanell and a dynamite Elisabeth Moss, this socially conscious horrorshow tips the old monster mash into way scarier shit about toxic masculinity that's as timely as #MeToo and Harvey Weinstein in handcuffs.
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Repeat viewings might expose further holes in the story, but Whannell remains a highly skilled genre filmmaker. As for Blumhouse, it's hard to think of another studio that currently knows its audience as well as they do.
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Moss holds the film together with her deeply committed performance, and in particular with the defeated air that she gives Cecilia, one that's always there under her recovering cheerfulness or displays of brittle defiance.
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Moss still holds her own as the movie crumbles around her, but her performance deserves better than what Whannell ultimately gives her.
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Moss's full-bore performance - anchored by her extraordinarily supple face - gives the movie its emotional stakes.
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With steady character work banking our investment, Whannell tightens the screws to scare.
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Unbearably tense and thematically rich, this feels like an entirely fresh take on a 123-year-old story. Which is not something we saw coming.
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The Invisible Man addresses its underlying themes... with utmost seriousness and old-fashioned jump-scares; it's a haunted house ride with more on its mind than up its sleeve.
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It's a #MeToo horror film that couldn't be any more timely if it shuffled into a courtroom with a Zimmer frame.
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There's fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion.
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"The Invisible Man" is devious fun, with a message that's organic enough to hit home: that in a toxic relationship, what you see is what you get - but what gets to you is what you don't see.
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[A]s stressed, and distressed, as Cecilia is most of the time, Moss provides a core of inner strength that invites investment in her abilities and, ultimately, belief in her survival.
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