The Invisible Man
THE INVISIBLE MAN - Universal
Director Leigh Whannel's The Invisible Man is a perfect reinvention that is almost flawless. A tense, atmospheric, and wholeheartedly frightening toe-curling horror that is unnerving at every corner.
Whannel takes the heart, soul, and profound analogy of the Universal Monster series subtext of the 1930s in the vein of the unknown foreigner, twists and turns that very notion and updates it for 2020 audiences in a condition of social oppression and spousal abuse. The update approached is enlightening and profound. Harrowing is perhaps an understatement to describe the events that transpire, but what works wonders is that the horror notion is played as second fiddle. The societal underbelly of the film themes takes centre stage with the story having a clear and precise impact. Thankfully, never drowning out with a considerable amount of flat horror conventions with a singular focus on story and characters.
With that, the performances roam free and when an actress with the majestic talents such as Elizabeth Moss is allowed that very freedom, audiences are given something special. Moss here is more than exceptional. Not to be hyperbolic, but she is transcending here as Cecilia Kass. In the same vein as Florence Pugh in Midsommar, Toni Collette in Hereditary, and Lupita Nyong'o in Us. A one of a kind performance that cannot be touched in its dazzling array of skill in an untouchable accomplishment. It is a performance with range and emotional conviction at every conceivable twist and turn. Moss reigns Queen of range, and on from her dazzling turn in Her Smell late last year.
It is becoming increasingly hard to describe what Moss can create with even the limited amount of work in a screenplay. However, the screenplay from writer/director Whannel, while arguably thin on narrative, is exploding with weight, depth, and layers. It is not that Whannel plays it safe, but the writer-director never overcomplicates or muddles what is arguably a literary great from H.G. Wells. A sign of a truly brilliant director who refrains from imploding his ego on the page, and allowing the work to speak for itself.
The craftsmanship here is also exceptional. The editing by Andy Canny is the hidden gem here. It is slow and meandering, which entirely elevates the intensity of the picture and, ultimately, the scenes that explode with a dense palpable atmosphere. Whannel and Canny allow the film to breathe with spacious editing and calculated pauses, giving an expertly devised flow of terror full effect. Counting a sole one or two jump scares involved, it is quite an achievement for the duo to craft something so spectacular in the notion of refusing to step on the toes of the most accessible and applicable genre conventions
THE INVISIBLE MAN is released February 28th 2020
