The Invisible Man (2020) Review

 

The Invisible Man (2020) Review

 

Humans are visual creatures, so the idea of a person somehow being able to exist without being seen is a science-fiction/horror concept that dates way back and has recurred in fiction many times over. The Invisible Man started as a novel by H.G. Wells, published in 1897, and was famously adapted in the early 1930s by Universal Pictures, followed by several sequels, cementing the character as a classic Universal monster. Usually, there are standard clichés for films about invisible people stalking and killing unsuspecting victims, and the subject is most commonly turned invisible by a chemical mixture or magical potion. Writer/director Leigh Whannell updated the concept by putting a technological spin on invisibility and focusing on the psychologically terrifying nature of unseen evil.   

Elisabeth Moss plays Cecilia, an architect who has been trapped in an abusive relationship, but she is not simply a hapless victim. As the film opens, she accomplishes a well-thought-out plan to escape her captor and takes refuge at a friend’s house. It’s not a huge mystery about who the invisible man is, but it’s not like it’s a failed attempt, story-wise. It’s pretty clear her abuser, Adrian Griffin, is behind it somehow, even though his brother, an attorney, assures Cecilia he committed suicide after her escape. Is Adrian dead, or is he haunting her? She can sense his presence long before she finally confirms some invisible person has been watching her and psychologically torturing her in an effectively shocking moment. The torment escalates, and even though her friend is a cop and she’s a smart survivor, it’s unclear how she can prove Adrian has invented some kind of invisibility suit and whether or not she will be able to protect those closest to her.

At first, the idea of a multi-millionaire genius working in cutting edge optic technology creating a high-tech suit covered in tiny cameras that allow the suit wearer to be completely invisible just so he can mess with his ex might seem silly, but actually, it’s entirely believable that a rich sociopath would do that with such technology, especially when Cecilia is the first person to ever best him. The reason this remake works so well is thanks to the solid performances, the commitment to the serious tone, and the consistently effective direction. Leigh Whannell uses empty space to make the viewer feel uncomfortable and suspicious, but doesn’t rely on too many of the invisibility tropes we’ve seen so many times in the past. The new look and concept for the invisible man works well, and even when there are shots of empty rooms or hallways, it’s still visually interesting. There are a couple shots of the suit glitching later into the movie that look a little fake, but amazingly, that’s it for lacking visuals. Whannell, having got his start in low budget horror, made full use of the seven-million-dollar budget, and doesn’t just rely on visual effects to make the invisible villain scary.

What I appreciate the most about The Invisible Man is how it homes in on Cecilia’s paranoia and her struggle to move on from her abusive relationship. We are immediately sympathetic toward Cecilia, and get to know the well-rounded characters in her life before the suspicion around who is really watching her or if she is really being stalked by someone starts to build. Even know we know she isn’t insane, the horror comes from knowing the same truth she does and that at a point there’s really no way to convince anyone that she is still a victim of someone who is likely not dead and has a clear motivation. It’s an effective way to channel the familiar narrative element of an insane invisible person into something that feels fresh without overcomplicating it.

My main issue with the movie is it’s a bit too long and a bit too slow, mainly in the third act. The suspense builds well through the second act and explodes in a twisty action sequence that harkens back to the camera twirling fun Whannell demonstrated in his previous film, Upgrade, but then the conclusion of the story comes as a little bit predictable and feels more drawn out than necessary. It’s still a satisfying ending, but I think it’s the relative simplicity of the ending and lack of something truly shocking or unexpected that makes the overall film a little less rewatchable. The build up through the first two acts holds up well upon a rewatch for me, but the ending leaves a little bit to be desired, though I’m glad it doesn’t end with a clunky sequel setup.

The Invisible Man is a modernized remake of a classic story that works. Its technical proficiency matches its realistically cerebral scare factor, and it was such a success that Whannell was hired for another Universal horror movie reboot. I guess I’ll review that one next time!