The Invisible Man: Suspenseful, atmospheric horror revels in its B-movie glory
By Thom Ernst
Rating: B
It hardly matters that the most invisible element in The Invisible Man is logic. Sure, there are sloppy narrative devices, questionable motivations and plot holes more transparent than the title character. But none of that diminishes The Invisible Man from reveling in all its B-movie glory.
Original plans slated The Invisible Man to be an authentic interpretation of the H.G. Wells’ classic story as part of Universal’s Dark Universe franchise, casting Johnny Depp in the lead, but the studio project stopped when Tom Cruise’s The Mummy (2017)—the other classic monster wrapped in bandages—unraveled at the box-office.
Elisabeth Moss hopes for a fair fight in the darkness in The Invisible Man
Depp’s loss became writer/director, Leigh Whannell’s gain and Whannell’s did not squander the opportunity. Without Depp, Whannell was free to shift the focus from the title character and rest it on the shoulders of a woman escaping the grips of an abusive relationship. It’s a big step away from Wells’ novel. James Whale’s The Invisible Man (1933), comes closest to capturing the book’s humour, thanks to the inherent comedic style of the film’s uncredited writer, Preston Sturges. Whannell’s take is arguably less prestigious than if he stuck to H.G. Well’s original text, but his choice to go for uncomplicated thrills works.
The Invisible Man is fun and ultimately satisfying despite a subtext of domestic violence. It’s a slight, but crowd-pleasing science fiction thriller that’s pulls from the ridiculous, Sleeping With The Enemy (1991) and Hollow Man (2000), to the sublime, Gaslight (1944) and the last half of Something Wild (1986).
Not that Whannell entirely ignores the roots of the story he’s revising. However, he does limit his references to slight nods to the film rather than to the novel. The opening credits look particularly designed as a tribute to the films of director James Whale, with title cards that appear only when washed over by waves crashing against a jagged shoreline. Whannell follows this with a pan up a cliff to reveal a lone house towering above the waters—a house that could reasonably accommodate the laboratory of a mad scientist.
From there Whannell wastes no time getting us into the nightmare of Cecilia Kass’s (Elisabeth Moss) story. The tension, following Cecilia’s efforts to not wake the man sleeping beside her, is frightfully good even before the invisible horror begins. The full weight of Cecilia’s abuse is not entirely explained, but it’s evident in Moss’s weakened shoulders, her fretful eyes, and slumped posture. Her terrified movements through a dark house is all the back-story needed to have us rooting for her escape.
Cecilia takes refuge in the home of her sister’s boyfriend (Aldis Hodge), and his teenage daughter (Storm Reid). But Cecilia knows that there are no limits her ex-boyfriend (Oliver Jackson-Cohen) will take to track her down. Even after getting word of his apparent suicide, Cecilia is unconvinced, that she’s out of danger. Her fears are soon justified when her life is plagued by strange and deadly events. But only she knows it.
Whannell’s writing and direction has progressed significantly from his beginnings with the SAW (2004) franchise. His style has shifted from shock to suspense, from the gruesome to the atmospheric.
Sure, The Invisible Man sometimes stretches beyond the realms of believability, but if you’re already buying into the idea that a man can become invisible—do yourself a favour and allow yourself the extra steps.
The Invisible Man. Written and directed by Leigh Whannell. Starring Elisabeth Moss, Oliver Jackson-Cohen, Aidis Hodge. Opens wide Friday, February 28.