The Invisible Man

The Invisible Man ★★★½

THE INVISIBLE MAN is a horrifyingly relentless, cut-throat thriller.

Rewritten and reimagined for the screen by one of today’s freshest horror-thriller-sci-fi devotee, Leigh Whannell, constructs a modernized cinematic version of the novel, with quite possibly the scariest monster of today: an abusive man. Along with all of the too real horrors that come with the trauma of an abusive relationship. 

It’s as if every one of Leigh Whannells movies have built up to THE INVISIBLE MAN, with its accumulation of horror, thriller and science fiction, especially Whannell’s own previous filmmaking experiences in the genres. 

The unique camerawork that encompasses his work finds mutual success with some masterful shot composition throughout. 

Where the epic stretches of nonstop tense action completely terrify and own your attention like the down-pouring hospital sequence for example, it creates effective and organic jump scares, as do the the solitary moments of silence such as Cecilia’s isolation in an empty home, which constantly pull your vision to the observable areas of the deep frames, wondering, looking, fearing what could be right before our eyes, but isn’t visible.

These contrasting functions of horrors, seen and unseen, manage to keep you and all of your senses on the edge of your seat successfully.

The cast is fine with Elizabeth Moss putting on one hell of a performance, stepping into the life of a traumatized woman, dealing with her life with an abusive man, one with such manipulative powers that she doesn’t even have to see him to fear him. The trauma of an abusive relationship doesn’t end when an abuser is physically absent from your life and it certainly isn’t clearly visible for others to see. 

And Oliver Jackson Cohen plays the narcissistic egotistical mad scientist, Adrian Griffin, far too well, effectively stepping into this modern, real life embodiment of human evil. His threatening, predatory moments of transparency, while in the invisibility suit, which is quite an interesting design of countless, tiny little lens looking orbs, are rivaled even by the moments you see Adrian in the flesh. 

What I didn’t like though is much of the films sound design is annoyingly loud and cliche, not to mention, I found the final act, especially the concluding moments to be lacking but admittedly it was still a practical last resort resolution. 

These issues are still not even close to being enough to take away how terrifyingly effective THE INVISIBLE MAN is overall. I love it.