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The year was 2016. Universal was trying to enter the extended universe game, but since they don't have the film rights to any superheroes anymore, they had to dig deep to find a property that had the potential to sustain the public's interest over a long period of time. What they came up with was "The Dark Universe", a series of films focused on the classic monsters including Dracula and Frankenstein that put the studio on the map back in the 30's. Those grand ambitions crumbled before they even got a chance to really materialize into much of anything after the debut film (2017's The Mummy) in this proposed series tanked on a spectacular level and all of the other Dark Universe titles in development were promptly canceled. Pulling the plug on The Dark Universe might've been a blessing in disguise for Universal after all because Leigh Whannell's masterful timely take on The Invisible Man would've never come to fruition if The Mummy had performed like they had hoped.
While horror veteran Whannell does a terrific job of building suspense and delivering traditional shocks, the way he handles an abusive relationship is what makes The Invisible Man so deeply unnerving. Adrian Griffin (Oliver Jackson-Cohen) isn't a terrifying monster because he's found a way to become invisible, it's because of the ways he reigns constant terror on his ex (Elisabeth Moss) that he views as his property. Watching him go to great lengths to discredit, terrorize and toy with a woman who left him because of his unrelenting abuse is far more bone-chilling than any jump scare or gruesome supernatural death could ever possibly be. There are plenty of women in the world right now that are currently in a relationship like this or have been one in the past, which is something that is impossible to overlook as the events of this film transpire and subsequently adds a subtly harrowing undercurrent to every single scene of the film.
As terrific as the writing and direction is, Whannell's updated approach to this classic monster tale wouldn't have reached its peak if he didn't have someone as fearlessly gifted as Moss in the lead role. The truly special expressiveness she possesses along with some assistance from a top-notch makeup department that provides the necessary visible signs of distress allows her to convey the quiet terror and constant unease that anyone who is able to escape from their abuser or is a victim of stalking must feel every moment of every day. The pain she endures not only from Adrian, but from the people that she loves and trusts not entirely believing her stories of how he's abusing her in his invisible state is on full display and escalates in a fashion that is just heartbreaking to watch. Moss' willingness to go to such great lengths to convincingly convey such a deep level of suffering even turns an ending that could've been contrived in the hands of a lesser actor into a powerful piece of catharsis that gives way to a beautiful final moment that had me on the verge of tears as I exited the theater. If Moss doesn't at the very least warrant consideration for this extraordinary performance comes awards season, it'll be a full blown travesty. She's that fucking good.
The Invisible Man is a bold, chilling knockout that serves as another well-earned victory lap for the Blumhouse Productions team. Not since Get Out has a film blended real life and cinematic horrors together so effectively. This is 2020's first masterpiece and I'm not expecting to stop thinking about it anytime soon.
While horror veteran Whannell does a terrific job of building suspense and delivering traditional shocks, the way he handles an abusive relationship is what makes The Invisible Man so deeply unnerving. Adrian Griffin (Oliver Jackson-Cohen) isn't a terrifying monster because he's found a way to become invisible, it's because of the ways he reigns constant terror on his ex (Elisabeth Moss) that he views as his property. Watching him go to great lengths to discredit, terrorize and toy with a woman who left him because of his unrelenting abuse is far more bone-chilling than any jump scare or gruesome supernatural death could ever possibly be. There are plenty of women in the world right now that are currently in a relationship like this or have been one in the past, which is something that is impossible to overlook as the events of this film transpire and subsequently adds a subtly harrowing undercurrent to every single scene of the film.
As terrific as the writing and direction is, Whannell's updated approach to this classic monster tale wouldn't have reached its peak if he didn't have someone as fearlessly gifted as Moss in the lead role. The truly special expressiveness she possesses along with some assistance from a top-notch makeup department that provides the necessary visible signs of distress allows her to convey the quiet terror and constant unease that anyone who is able to escape from their abuser or is a victim of stalking must feel every moment of every day. The pain she endures not only from Adrian, but from the people that she loves and trusts not entirely believing her stories of how he's abusing her in his invisible state is on full display and escalates in a fashion that is just heartbreaking to watch. Moss' willingness to go to such great lengths to convincingly convey such a deep level of suffering even turns an ending that could've been contrived in the hands of a lesser actor into a powerful piece of catharsis that gives way to a beautiful final moment that had me on the verge of tears as I exited the theater. If Moss doesn't at the very least warrant consideration for this extraordinary performance comes awards season, it'll be a full blown travesty. She's that fucking good.
The Invisible Man is a bold, chilling knockout that serves as another well-earned victory lap for the Blumhouse Productions team. Not since Get Out has a film blended real life and cinematic horrors together so effectively. This is 2020's first masterpiece and I'm not expecting to stop thinking about it anytime soon.
Grade: A
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