The Invisible Man

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). (03/22/2020)

The talented Leigh Whannell delivers the first solid horror film of the year. I liked Upgrade a tad more, but he has done a decent job with Invisible Man, it's already clear that the film will join the ranks of successful remakes. Elisabeth Moss gives a strong female performance (she is one of the least likable actresses and even if she is not the best looking, she at least makes up for it with a solid performance). I'm not familiar with the original, so I went in more or less blind, and the story is interesting and engaging enough. The film's strongest points are definitely the music, which completes the perfect, almost intense atmosphere, there’s plenty of suspense and unexpected twists. The downside for me was the slower pace in the first half, and I was also hoping for Whanell to dabble in violence, which he surprisingly avoids completely, and for that a point down. Satisfied, but I was expecting something more intense. 8/10. (03/01/2020)

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. (06/08/2020)

I really don't know who came up with the rule - whenever Elisabeth Moss appears in a movie or series, her character has to be referred to as beautiful at least once. I can have a good laugh about it and life goes on, but then I'm confronted with the close-ups of her face, and I can already count on waking up from sleep screaming, drenched in cold sweat. These shots are also the only explanation why horror is listed as one of the genres. The film itself wasn't exactly amazing, but it wasn't terrible either. If I had been able to root for the protagonist, I might have even enjoyed it more. (08/18/2020)

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. (03/05/2020)