The Invisible Man
Elisabeth Moss, Oliver Jackson-Cohen, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman
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…a triumph… a clever, engrossing and frequently genuinely scary genre flick with a stellar cast and thematic resonance.
How do you make the Invisible Man scary in 2020? It’s a tough proposition, as is the case with most of the classic Universal monsters. Sure, the idea of a bloke sneaking around unseen probably scared the pantaloons off audiences in 1933, but it’s a bit more of an ask in an era of identity theft, rising fascism and the planet being on fire. If you’re talented Aussie writer/director, Leigh Whannell, you take the story in a different direction and change its point of view, making it more personal and much, much scarier.
The Invisible Man (2020) is really all about Cecilia Kass (Elisabeth Moss), who in the film’s tense opening finally escapes from her abusive, domineering boyfriend, and brilliant scientist, Adrian Griffin (Oliver Jackson-Cohen). Cecilia tries to piece together the shattered fragments of her life with sister, Alice (Harriet Dyer) and friend James (Aldis Hodge) helping as best they can. Then the news comes that Adrian is dead, he’s killed himself, and though she can barely believe it, Cece starts to hope for some peace at last. And then shit starts getting weird.
The Invisible Man is essentially the story of an abusive relationship with a science-gone-amok twist and it works beautifully, making the film feel thematically relevant. However, even if you ignore the subtext, it’s an absolute pearler of a thriller in its own right. Whannell has eschewed the fun, trashy vibe of his previous flick – the woefully underrated Upgrade (2018) – and adopted a style more in line with the likes of DePalma or Hitchcock. Expect long, lingering takes that play with negative space, genuinely edge-of-your-seat sequences that skillfully ratchet up the tension and a score that channels the orchestral ghost of Bernard Herrmann.
Moss is superb as the PTSD-suffering Cecilia, showcasing an impressive range of emotion, and is backed up by a capable support cast, including Michael Dorman as Adrian’s slimy lawyer brother, Tom. Ironically the only cast member who fails to make an impact is Adrian himself, who never quite convinces when he’s on the visual spectrum. When he’s invisible, however? Whole other story.
Ultimately, The Invisible Man is a triumph. Rising from the ashes of Universal’s failed Dark Universe experiment, it offers a clever, engrossing and frequently genuinely scary genre flick made on a limited budget with a stellar cast and thematic resonance. Whether taken as an allegory for spousal abuse, or viewed simply as a deft cat and mouse thriller, The Invisible Man is a superb genre effort that absolutely deserves to be seen.