Director Leigh Whannell took a modern spin on the original The Invisible Man. The traditional image of the character (pictured above) was wrapped in bandages so people could see him (Courtesy of Martin from pexels).
In 2014, Universal Studios attempted to capitalize on Marvel and Disney’s successful cinematic universe by introducing their own Dark Universe. The Dark Universe, starting and ending with the unsuccessful films Dracula Untold and The Mummy, was a flagrant attempt of shoehorning famous Universal movie monsters into their own franchise to warrant the production of cheap, predictable thriller films.
With the quick dissolution of this cinematic universe, Leigh Whannell, known for his work on films such as Saw, Insidious and Upgrade, took the opportunity to pursue a stand-alone project that could resurrect Universal’s stagnant monster movie lineup. This attempt culminated into his latest release, The Invisible Man.
The Invisible Man tells the story of Cecelia—portrayed by Elizabeth Moss—a woman who inherits millions of dollars after the death of her abusive boyfriend Adrian—played by Oliver Jackson-Cohen. Despite having escaped Adrian’s claustrophobic grasp, Cecelia can’t help but feel his presence everywhere she goes. Eventually, Cecelia realizes Adrian has somehow become invisible and, given the disbelief of those around her, she is forced to confront him head-on.
Whannell’s new film is exactly what previous installments of the Dark Universe should have been. Based on earlier adaptations as well as the original novel by H.G. Wells, Whannell takes an interesting premise and writes a story that is both unique and socially relevant. In a world where the #MeToo movement highlights the struggles of women ignored for speaking of their experiences, The Invisible Man uses a fantastical concept to highlight the real-world anxieties of being stalked, harassed and ignored.
The experience of being ignored during a time of harrowing circumstance is a key component of the horror of The Invisible Man. Adrian, a manipulative and powerful genius, actively harasses Cecelia and makes those around her question her sanity. Rather than deliver a slasher flick, Whannell offers a compelling and effective psychological thriller that explores the lengths people will go to maintain control over others.
This plot is helped greatly by a strong protagonist in the form of Cecelia. Cecelia is shown to be an incredibly resourceful character, turning the conflict between her and Adrian to a battle of wits. Moss does a terrific job of bringing this character to life and her performance demands the audience’s admiration and empathy for her character.
Part of what makes these themes interesting is how well suspense is achieved through cinematography. The camera will often linger on corners or chairs and will pan to follow a character we never see. These techniques leave the audience in a constant state of suspense, wondering if Adrian is sitting in the chair or standing in the corner. Whenever Adrian is somehow revealed, there is a great visceral impact that makes every scare feel well-crafted and ultimately earned.
The only flaws of The Invisible Man are minor plot holes. Without spoiling the film, there are certain elements of the plot that don’t make sense with the logic established in the film. These moments, however, aren’t egregious enough to take away from all the film does well.
The Invisible Man is a successful, triumphant reimagining of a classic Universal property. Incredible performances, an interesting story and excellent camera work make for a suspenseful, intriguing thriller. It’s another great accomplishment in Leigh Whannell’s career and, hopefully, a step in the right direction for Universal’s monster movies.