The Invisible Man
12 August 2020
Leigh Whannell’s remake of one of the most iconic of Universal monster flicks does away a lot of the problem areas of the originals, which were, let’s face it, not very good. Instead, his man-that-can’t-be-seen is a fresh take with a storyline that is itself more horrifying than the villain that optically challenges us and the protagonist.
Elizabeth Moss is Cee (see what they did there? … and see what I did there?). An architect who runs away from her domineering and psycopathic husband, who subsequently kills himself. However, Cee is adamant that his husband’s latest invention makes him invisible. And despite his legal death, he is actually stalking her. This part of the story, of the abusive, obsessive ex is the real horror. Yes, that sounds like I’m pushing the contextual elements to the fore, but Whannell’s film clearly and masterfully does that. Moss’s bravura performance helps this.
And, yes, the genre tactics are almost always spot-on here — this is a chilling, terrifying film with plenty of good scares throughout, some of which are unfortunately too obvious. But the real horror is the domestic terror that Cee goes through and that is precisely why The Invisible Man is one of the better horror films of the last few years.