The Invisible Man – Film Review
Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Oliver Jackson-Cohen
Director: Leigh Whannell
Synopsis: After her abusive boyfriend commits suicide, Cecilia (Moss) finds herself being tormented by a mysterious presence that has her convinced that somehow, he’s still alive, and is out to torment her…
Review: Shared cinematic universes certainly became all the rage following the success of the Marvel Cinematic Universe, and it left many studios wanting to get their own shared universes off the ground. Universal’s plans for a Dark Universe certainly offered much potential, but as its first film tanked, down went the hopes of getting it truly off the ground. A reboot of the 1933 film The Invisible Man was among the projects lined up for the doomed universe. While those plans never come to fruition, thanks to a combined effort of Universal and Blumhouse has brought it to the big screen.
Cecilia is in a relationship with Adrian (Jackson-Cohen) which has ultimately deteriorated beyond repair due to his extensive abuse and she consequently becomes determined to leave him once and for all. When she learns that he’s committed suicide, Cecilia is initially elated that she’s finally free of him. However, her joy immediately turns to horror after finding herself being subjected to some inexplicable, and traumatic events. She soon becomes convinced that Adrian is not dead, and that somehow, he’s the one tormenting her as revenge for trying to leave him.
As the woman at the centre of this nightmare, Elisabeth Moss gives a truly outstanding performance. The film is reliant on her ability to convey the true horror of this inexplicable nightmare that she finds herself in, and she rises to the occasion magnificently. In many instances in the film, she is acting against a presence that cannot be seen, but she is convinced that there’s something there. Even as everyone, even those really closest to her, think that she’s lost her mind, and is completely paranoid. She is unwavering in her belief that this imperceptible presence that is subjecting her to this torment is somehow, Adrian himself. While Moss is the unquestioned star of the show, each member of the supporting cast all deliver from Harriet Reid as Cecilia’s sister, to Aldis Hodge as her childhood friend James, and his daughter Sydney (Storm Reid).
In the era of the Me Too movement, the decision to frame the titular character as a vicious, domestic abuser was a brave decision that could have backfired. However, thanks to Moss’s excellent performance and Whannell’s sharp screenplay and direction, it serves as an effective means of telling this suspenseful, and thoroughly gripping story that has a lot to say about relationships, and the consequences that can happen when they turn abusive. With every moment of the film’s two hour and five minute run time, the excellent camerawork helps to build up the tension masterfully. Even such numerous every day scenarios as making breakfast are utilised to build suspense and dread among the audience leaving them, fearful as to what fresh horror this unseen menace will unleash on Cecilia next.
While at the time, Universal head honchos would have undoubtedly been immensely frustrated with the Dark Universe falling apart after just one film, it has ultimately proved to be a blessing in disguise. Instead of pouring all their efforts into crafting a pulsating action packed cinematic universe juggernaut that are a dime a dozen nowadays. It’s safe to assume that a decision was made to pull back and instead utilise their efforts to craft a story that’s doesn’t rely on well worn horror tropes. Furthermore, by grounding it in such timely subject matter, it serves as a sharp reminder of the stark consequences of domestic abuse, and how it can reap devastating consequences on the lives of those who suffer from domestic abuse.
Combining timely subject matter to a classic story, mixed in with excellent camerawork and a terrific, wounded lead performance all results in a perfect example of a reboot done just right.